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 32
Стр. 20
... responses in us , which are totally subjective . We know we can still be stirred by words spoken in public , without ... response separate from the feeling . For instance , if there is something in our life about which we have a deep ...
... responses in us , which are totally subjective . We know we can still be stirred by words spoken in public , without ... response separate from the feeling . For instance , if there is something in our life about which we have a deep ...
Стр. 22
... response This last point may seem obvious , but I think it is crucial , and I think it underlies what is unimaginative in the end result of speaking : it is to do with an over - educated response to words . We learn dialogue from a ...
... response This last point may seem obvious , but I think it is crucial , and I think it underlies what is unimaginative in the end result of speaking : it is to do with an over - educated response to words . We learn dialogue from a ...
Стр. 24
... response to words . I think that when the voice is not interesting enough , it is rarely to do with it not being good enough , but simply that it is not being given the right stimulus . Again , what I am going to say will seem simple ...
... response to words . I think that when the voice is not interesting enough , it is rarely to do with it not being good enough , but simply that it is not being given the right stimulus . Again , what I am going to say will seem simple ...
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