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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... first published in Great Britain in 1993 by Virgin Books an imprint of Virgin Publishing Ltd 13:15 17:16 14 12 First published as The Actor and His Text in 1987 by Harrap Ltd , and reprinted in 1988 and 1991 Copyright © Cicely Berry ...
... first published in Great Britain in 1993 by Virgin Books an imprint of Virgin Publishing Ltd 13:15 17:16 14 12 First published as The Actor and His Text in 1987 by Harrap Ltd , and reprinted in 1988 and 1991 Copyright © Cicely Berry ...
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... first published in 1972 ; the extract from Soft Cops , first published in 1986 ; the extract from Part Two of ' The War Plays ' ( The Tin Can People ) , by Edward Bond , 1985 edition , the extract from Sus , by Barrie Keeffe , 1979 ...
... first published in 1972 ; the extract from Soft Cops , first published in 1986 ; the extract from Part Two of ' The War Plays ' ( The Tin Can People ) , by Edward Bond , 1985 edition , the extract from Sus , by Barrie Keeffe , 1979 ...
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... First , I want to look at the factors which hold us back from making the text as rich and alive as possible . This may seem negative , but I think there are certain attitudes and ways of working by which we are conditioned , which take ...
... First , I want to look at the factors which hold us back from making the text as rich and alive as possible . This may seem negative , but I think there are certain attitudes and ways of working by which we are conditioned , which take ...
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... first is quite simply to do with practice . There is less opportunity to work in classical text than in modern , and you have to get to grips with it before you begin to see how it works , so you can go with it .. Secondly , it has to ...
... first is quite simply to do with practice . There is less opportunity to work in classical text than in modern , and you have to get to grips with it before you begin to see how it works , so you can go with it .. Secondly , it has to ...
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... first is again from Othello , and is to do with choice of vocabulary . In Act III , Scene 3 , lago , dropping the seeds of suspicion into Othello's conscious- ness , says : Iago : Good name in man or woman , dear my lord , Is the ...
... first is again from Othello , and is to do with choice of vocabulary . In Act III , Scene 3 , lago , dropping the seeds of suspicion into Othello's conscious- ness , says : Iago : Good name in man or woman , dear my lord , Is the ...
Содержание
Nature of the image its logic and its inquiry into nature | 52 |
Structure of speeches | 128 |
Shakespeare | 139 |
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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Часто встречающиеся слова и выражения
Act II Scene actor antithesis audience aware Barnardo become beginning breath caesura character consonants Coriolanus Delroy dialogue Dingo doth emotional energy exercises feel give Hamlet happens hath hear heightened Hermia Iago iambic pentameter imagery important Julius Caesar Karn keep King King Lear language Lear Leontes listen look Love's Labour's Lost Macbeth meaning mememe metre mind Mogg move movement naturalistic night 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 and Juliet Rosalind round sense Shakespeare sing soliloquy Sonnet Sonnet 29 sound space speak the text speech stress style syllables talking texture thee Theseus thing thou thought structure Troilus Troilus and Cressida verse voice vowels weight whole Winter's Tale words writing