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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... Acting , Text and Style Chapter Nine : Further Points of Text 1 Prose 2 Heightened music 3 Scene structures 4 Recap on speech structures 5 Sonnets Chapter Ten : Relating to Other Texts 1 Jacobean text 2 Restoration text 3 Formal modern ...
... Acting , Text and Style Chapter Nine : Further Points of Text 1 Prose 2 Heightened music 3 Scene structures 4 Recap on speech structures 5 Sonnets Chapter Ten : Relating to Other Texts 1 Jacobean text 2 Restoration text 3 Formal modern ...
Стр. 7
... actors and time - constrained directors , all of whom would quickly dispense with her methods if she did not so palpably stretch and improve all who came under her influence . This book is full of the essential Berry , her responses to ...
... actors and time - constrained directors , all of whom would quickly dispense with her methods if she did not so palpably stretch and improve all who came under her influence . This book is full of the essential Berry , her responses to ...
Стр. 10
... acting method to practical direct speaking . I would like , therefore , to set down what I have learnt . However , I think it would be limiting if we left it there as an end in itself , so I have made reference to ... ACTOR AND THE TEXT.
... acting method to practical direct speaking . I would like , therefore , to set down what I have learnt . However , I think it would be limiting if we left it there as an end in itself , so I have made reference to ... ACTOR AND THE TEXT.
Стр. 17
... actor has got to feel true to his sound , for , just as a writer cannot take the words back once they are in print , so an actor , once he has committed himself to speech , either in rehearsal or in performance , feels he has said ...
... actor has got to feel true to his sound , for , just as a writer cannot take the words back once they are in print , so an actor , once he has committed himself to speech , either in rehearsal or in performance , feels he has said ...
Стр. 20
... actors know well what it is to be vulnerable : they lay themselves open to criticism whenever they go on stage , and therefore to the possibility of being hurt ; and this is an awareness they use as they reach into the ... ACTOR AND THE TEXT.
... actors know well what it is to be vulnerable : they lay themselves open to criticism whenever they go on stage , and therefore to the possibility of being hurt ; and this is an awareness they use as they reach into the ... ACTOR AND THE TEXT.
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