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. 27
... example , for you would not be contemplating those lines unless you were preparing them as an actor , but it is often easier to understand a point through a difficult example , as the need is more apparent and you can see the principal ...
... example , for you would not be contemplating those lines unless you were preparing them as an actor , but it is often easier to understand a point through a difficult example , as the need is more apparent and you can see the principal ...
Стр. 73
... examples are in rhyme , which leads us to just that point . 2b : Rhyme . There is nothing difficult about this : we simply have to be alert to it and use it , we have to allow it its artificiality . I think perhaps the important thing ...
... examples are in rhyme , which leads us to just that point . 2b : Rhyme . There is nothing difficult about this : we simply have to be alert to it and use it , we have to allow it its artificiality . I think perhaps the important thing ...
Стр. 90
... example to example , yet the advantage is that we begin to feel the elements in our bones and begin to be aware of the permutations within the line , so that in the end we do not have to work at them . But it would be a good thing to ...
... example to example , yet the advantage is that we begin to feel the elements in our bones and begin to be aware of the permutations within the line , so that in the end we do not have to work at them . But it would be a good thing to ...
Содержание
Acknowledgments | 7 |
Attitudes to Voice and Text | 13 |
Shakespeare | 40 |
Авторские права | |
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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