The Actor And The TextRandom House, 29 февр. 2012 г. - Всего страниц: 304 Cicely Berry, Voice Director of the Royal Shakespeare Company, is world-famous for her voice teaching. The Actor and the Text is her classic book, distilled from years of working with actors of the highest calibre. |
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Стр. 6
... Finding the space 2 Using poetry 3 Cadence and note Chapter Twelve: Further Voice Exercises Further Perspectives Index of Quotations Quotes by Subject l7] l7] l78 l85 189 205 205 213 220 229 240 25] 25l 253 254 255 260 260 265 273 274 ...
... Finding the space 2 Using poetry 3 Cadence and note Chapter Twelve: Further Voice Exercises Further Perspectives Index of Quotations Quotes by Subject l7] l7] l78 l85 189 205 205 213 220 229 240 25] 25l 253 254 255 260 260 265 273 274 ...
Стр. 17
... that the speaker is not finding the correct muscular pressure for the consonants, and certainly this is often the case; but it is never just that, for it always has to do with the speaker's commitment. 17 SOUND AND MEANING.
... that the speaker is not finding the correct muscular pressure for the consonants, and certainly this is often the case; but it is never just that, for it always has to do with the speaker's commitment. 17 SOUND AND MEANING.
Стр. 18
... finding the reason for the words he has to speak, of relating them both to his own experience and to the motive of the character, in order to make them authentic. The way he does this will vary according to the text he is speaking, but ...
... finding the reason for the words he has to speak, of relating them both to his own experience and to the motive of the character, in order to make them authentic. The way he does this will vary according to the text he is speaking, but ...
Стр. 20
... finding the words associated with the feeling and being precise about it — can in itself be upsetting, and we may break down in the telling. Most of us have something in our lives which we find painful to talk about, a condition or ...
... finding the words associated with the feeling and being precise about it — can in itself be upsetting, and we may break down in the telling. Most of us have something in our lives which we find painful to talk about, a condition or ...
Стр. 34
... finding out how verbal comedy works, and often on a literary enjoyment of language. It is not ordinary, and it is conscious; it is in a sort of way public. This applies mostly to comedy, though there are serious plays — those of ...
... finding out how verbal comedy works, and often on a literary enjoyment of language. It is not ordinary, and it is conscious; it is in a sort of way public. This applies mostly to comedy, though there are serious plays — those of ...
Содержание
| 8 | |
| 24 | |
Shakespeare Setting out the Rules | 52 |
Structures Energy Imagery and Sound | 82 |
Shakespeare the Practical Means | 143 |
Metre and Energy | 171 |
Acting Text and Style | 189 |
Further Points of Text | 205 |
Relating to Other Texts | 251 |
Voice Work | 260 |
Further Voice Exercises | 274 |
Further Perspectives | 285 |
Index of Quotations | 297 |
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actor antithesis Antony and Cleopatra audience aware become beginning breath caesura character Cicely Berry consonants Coriolanus defined Delroy dialogue difficult doth Dream emotional energy exercises feel final find finding finish first fit give Hamlet happens hath hear heightened Hippolyta Iago imagery important influenced Juliet Julius Caesar keep King King Lear language Lear Leontes listener look Macbeth meaning metre mind move movement naturalistic notice open vowels Othello ourselves particularly passage patterns perhaps person phrase physical piece of text play poetic possible reason rehearsal rhyme rhythm Richard II Romeo Romeo and Juliet Rosalind round scene sense Shakespeare sing soliloquy sonnet sound space speak the text specific speech stress style syllables talking texture thee Theseus thing thou thought structure Troilus verse voice vowels weight whole Winter's Tale words writing