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. 115
... emotion accordingly . We go for its emotional size at the expense of accuracy of thought we have already said something of this in terms of the discipline of the image — and because it is poetry , we go for a poetic quality . Or , 2 We ...
... emotion accordingly . We go for its emotional size at the expense of accuracy of thought we have already said something of this in terms of the discipline of the image — and because it is poetry , we go for a poetic quality . Or , 2 We ...
Стр. 179
... emotional state of the thought . It becomes even more telling when you do it on a speech , when you are feeling the movement in terms of character . Now obviously punctuation varies with the edition of the text , and this is so in all ...
... emotional state of the thought . It becomes even more telling when you do it on a speech , when you are feeling the movement in terms of character . Now obviously punctuation varies with the edition of the text , and this is so in all ...
Стр. 213
... emotional weight and colour , to stress how each phrase has its own music , and its own space and time whether the content is practical and informative , or emotional and descriptive . The music of the phrasing must be observed . And ...
... emotional weight and colour , to stress how each phrase has its own music , and its own space and time whether the content is practical and informative , or emotional and descriptive . The music of the phrasing must be observed . And ...
Содержание
Acknowledgments | 7 |
Attitudes to Voice and Text | 13 |
Shakespeare | 40 |
Авторские права | |
Не показаны другие разделы: 8
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Часто встречающиеся слова и выражения
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