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. 18
... important than the thought , instead of being the thought in action . So the actor remains just behind the words — a metaphorical half inch and not quite on them . This is not a big problem , but a very common one . And what is ...
... important than the thought , instead of being the thought in action . So the actor remains just behind the words — a metaphorical half inch and not quite on them . This is not a big problem , but a very common one . And what is ...
Стр. 148
... important to place the verbal energy precisely on the lips and tongue , so that it becomes the physical movement of the thought the thought in action . - If you have room and privacy work on ( ii ) . It is perhaps not easy to do it on ...
... important to place the verbal energy precisely on the lips and tongue , so that it becomes the physical movement of the thought the thought in action . - If you have room and privacy work on ( ii ) . It is perhaps not easy to do it on ...
Стр. 262
... important . To be aware of the time it takes for words to reach the back , and to do this without slowing the language up , takes great concentration , and this is where the phrasing and the rhythm become crucial . Pitch and tone ...
... important . To be aware of the time it takes for words to reach the back , and to do this without slowing the language up , takes great concentration , and this is where the phrasing and the rhythm become crucial . Pitch and tone ...
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