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. 26
... Othello , just at how the speech breathes . The lines come from Act III , Scene 3 , near the end of the central scene between Othello and Iago , during which Iago has worked so successfully on Othello's hidden doubts and jealousy that ...
... Othello , just at how the speech breathes . The lines come from Act III , Scene 3 , near the end of the central scene between Othello and Iago , during which Iago has worked so successfully on Othello's hidden doubts and jealousy that ...
Стр. 27
Cicely Berry. Othello : O , blood , blood , blood ! Iago : Patience , I say : your mind perhaps may change . Othello : Never , lago . Like to the Pontic sea , Whose icy current and compulsive course Ne'er feels retiring ebb , but keeps ...
Cicely Berry. Othello : O , blood , blood , blood ! Iago : Patience , I say : your mind perhaps may change . Othello : Never , lago . Like to the Pontic sea , Whose icy current and compulsive course Ne'er feels retiring ebb , but keeps ...
Стр. 35
... 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 immediate jewel of their ...
... 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 immediate jewel of their ...
Стр. 36
Cicely Berry. manipulation of Othello . He could have used two other words , but these two are both implicitly in opposition to ' good name ' ; and what is more , they both sound ugly . We are therefore receiving information through ...
Cicely Berry. manipulation of Othello . He could have used two other words , but these two are both implicitly in opposition to ' good name ' ; and what is more , they both sound ugly . We are therefore receiving information through ...
Стр. 65
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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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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