The Actor and His TextHarrap, 1987 - Всего страниц: 285 This book sets out to apply the methods of voice production directly and practically to the speaking of text. Specifically, it addresses the problem of how to infuse life and meaning into words that are first encountered on the printed page. |
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Стр. 58
... break within the line , in most cases after the second or third stressed syllable . Sometimes this break coincides with a full - stop or a colon , and so with a break in thought . But more often , as in the passage we are looking at ...
... break within the line , in most cases after the second or third stressed syllable . Sometimes this break coincides with a full - stop or a colon , and so with a break in thought . But more often , as in the passage we are looking at ...
Стр. 59
... break comes after ' death ' to allow us to take in the information . The concepts in these two lines are antithetical to each other , yet rhythmically they are steady , and I think this points up the fatal movement towards death which ...
... break comes after ' death ' to allow us to take in the information . The concepts in these two lines are antithetical to each other , yet rhythmically they are steady , and I think this points up the fatal movement towards death which ...
Стр. 271
... break and climb and break till everything is as it was again . Yet nothing is as it was again . And so we shadows shake with strange unrest when something tells us that a voyage has started , that something of the possible is freed ...
... break and climb and break till everything is as it was again . Yet nothing is as it was again . And so we shadows shake with strange unrest when something tells us that a voyage has started , that something of the possible is freed ...
Содержание
Acknowledgments | 7 |
Attitudes to Voice and Text | 13 |
Shakespeare | 40 |
Авторские права | |
Не показаны другие разделы: 8
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actor antithesis Antony Antony and Cleopatra audience aware Barnardo beat become beginning breath caesura character consonants Coriolanus Delroy dialogue Dingo doth emotional energy exercises eyes feel give Hamlet happens hath hear heightened helps Hermia Iago iambic pentameter imagery images important Karn keep King King Lear language Lear Leontes listener look Love's Labour's Lost Macbeth meaning mememe metre Midsummer-Night's Dream mind Mogg move movement naturalistic night notice open vowels Othello ourselves particularly passage patterns perhaps person phrase physical piece of text play poetic possible precise reason rehearsal rhyme rhythm Richard II Romeo and Juliet Rosalind round scene sense Shakespeare sing soliloquy sonnet sound space speak the text speech stress syllables talking texture thee Theseus thing thou Troilus Troilus and Cressida verse voice vowels weight Winter's Tale words writing