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. 25
... kind of response demands our whole attention : we have to be physically as well as imaginitively prepared . So I want to clarify our attitude to the work in three areas . ( a ) Relaxation . Obviously this is of vital importance , for ...
... kind of response demands our whole attention : we have to be physically as well as imaginitively prepared . So I want to clarify our attitude to the work in three areas . ( a ) Relaxation . Obviously this is of vital importance , for ...
Стр. 43
... kind of language good behaviour which had been the norm in the theatre until then . It made obsolete a kind of upper class , educated stance on language : it was anti - class , wordy , challenging and on the offensive . You could say ...
... kind of language good behaviour which had been the norm in the theatre until then . It made obsolete a kind of upper class , educated stance on language : it was anti - class , wordy , challenging and on the offensive . You could say ...
Стр. 261
... kind . However , watch out for dead spots . In a conventional theatre space you will often find the area at the back of the stalls quite difficult . The fact that it is under the circle deadens the sound , and because it is not so easy ...
... kind . However , watch out for dead spots . In a conventional theatre space you will often find the area at the back of the stalls quite difficult . The fact that it is under the circle deadens the sound , and because it is not so easy ...
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