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. |
Результаты поиска по книге
Результаты 1 – 3 из 26
Стр. 19
... live through the thought as it happens . The result is that the speaking becomes what I call passive , and not active , in that we are presenting the result of a thought and not the thought itself . We are then at one remove from the ...
... live through the thought as it happens . The result is that the speaking becomes what I call passive , and not active , in that we are presenting the result of a thought and not the thought itself . We are then at one remove from the ...
Стр. 21
... live in . Words spring from many layers of consciousness : from the ordinary management of our everyday lives , to the unguarded expression of deep feeling . We must be ready for their shifts . ( d ) How we present language The fourth ...
... live in . Words spring from many layers of consciousness : from the ordinary management of our everyday lives , to the unguarded expression of deep feeling . We must be ready for their shifts . ( d ) How we present language The fourth ...
Стр. 22
... live through the words as they happen , because we begin to feel out of control of the sense . — I know from my experience in working on Shakespeare with groups of schoolchildren - mainly 15 to 18 - year - olds that those who are ...
... live through the words as they happen , because we begin to feel out of control of the sense . — I know from my experience in working on Shakespeare with groups of schoolchildren - mainly 15 to 18 - year - olds that those who are ...
Содержание
Acknowledgments | 7 |
Attitudes to Voice and Text | 13 |
Shakespeare | 40 |
Авторские права | |
Не показаны другие разделы: 8
Другие издания - Просмотреть все
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