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. 4
... first published in Great Brilain in 1993 by Virgin Books an imprint of Virgin Publishing Ltd [3 IS l7 l6 l4 l2 First published as The Actor and His Text in 1987 by Harrap Ltd, and reprinted in 1988 and 199] Copyright 0 Cicely Berry I987 ...
... first published in Great Brilain in 1993 by Virgin Books an imprint of Virgin Publishing Ltd [3 IS l7 l6 l4 l2 First published as The Actor and His Text in 1987 by Harrap Ltd, and reprinted in 1988 and 199] Copyright 0 Cicely Berry I987 ...
Стр. 8
... first in N72; the extract from So]! Cops, first publithed in 1986, the extnct from Pan Two of 'The Will' Play!' (The Tin Can People). by Fdwlrd Bond, 1985 edition, the cxtncl from Stu, by Burnt: Kedffe, 1W9 edition; the pout-t Quutionr ...
... first in N72; the extract from So]! Cops, first publithed in 1986, the extnct from Pan Two of 'The Will' Play!' (The Tin Can People). by Fdwlrd Bond, 1985 edition, the cxtncl from Stu, by Burnt: Kedffe, 1W9 edition; the pout-t Quutionr ...
Стр. 15
... First, 1 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 1 think there are certain attitudes and ways of working by which we are conditioned, which take our ...
... First, 1 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 1 think there are certain attitudes and ways of working by which we are conditioned, which take our ...
Стр. 32
... 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 do with ...
... 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 do with ...
Стр. 35
... first is again from Othello, and is to do with choice of vocabulary. ln Act Ill, Scene 3, lago, dropping the seeds of suspicion into Othello's consciousness, says: Iago: Good name in man or woman, dear my lord, is the immediate jewel of ...
... first is again from Othello, and is to do with choice of vocabulary. ln Act Ill, Scene 3, lago, dropping the seeds of suspicion into Othello's consciousness, says: Iago: Good name in man or woman, dear my lord, is the immediate jewel 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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