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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... Lear , by Edward Bond , 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 ...
... Lear , by Edward Bond , 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 ...
Стр. 21
... Lear Recognizing these two factors , 1 ) that words have a physical root , and , 2 ) that they are an active force , gives the speaker another dimension . They are also very practical notions to hold on to . But I would make a further ...
... Lear Recognizing these two factors , 1 ) that words have a physical root , and , 2 ) that they are an active force , gives the speaker another dimension . They are also very practical notions to hold on to . But I would make a further ...
Стр. 28
... Lear , Act IV , Scene 4. The scene comes roughly three - quarters of the way through the play , after Lear has been rejected by his two eldest daughters , has been exposed to the storm , and has been sighted wandering near the cliffs at ...
... Lear , Act IV , Scene 4. The scene comes roughly three - quarters of the way through the play , after Lear has been rejected by his two eldest daughters , has been exposed to the storm , and has been sighted wandering near the cliffs at ...
Стр. 30
... Lear in a German translation with a group of actors in Hamburg , and I remember particularly this Cordelia speech and how we worked on it . Its whole nature changed because of the didactic sound of the German language , and how ...
... Lear in a German translation with a group of actors in Hamburg , and I remember particularly this Cordelia speech and how we worked on it . Its whole nature changed because of the didactic sound of the German language , and how ...
Стр. 40
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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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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