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. 16
... given that our voice is our sound presence , and is the means by which we commit our private world to the world outside , it is tied up with how we think of ourselves - our self - image- and with the image of ourselves we wish to ...
... given that our voice is our sound presence , and is the means by which we commit our private world to the world outside , it is tied up with how we think of ourselves - our self - image- and with the image of ourselves we wish to ...
Стр. 50
... given room . Yet this presenting must in no way be untrue , external : it is not public in that it is not simply for effect , but there is enjoyment in being articulate — like playing a brilliant game of snooker or tennis ! Even in ...
... given room . Yet this presenting must in no way be untrue , external : it is not public in that it is not simply for effect , but there is enjoyment in being articulate — like playing a brilliant game of snooker or tennis ! Even in ...
Стр. 56
... given in the space of one . The devoiced consonants ' p ' , ' t ' and ' s ' make it sharp and spitting . The whole line is comfortless . It is awkward to speak . Here the rhythm breaks : ' Doth ' needs stress , and it holds up for a ...
... given in the space of one . The devoiced consonants ' p ' , ' t ' and ' s ' make it sharp and spitting . The whole line is comfortless . It is awkward to speak . Here the rhythm breaks : ' Doth ' needs stress , and it holds up for a ...
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