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. 8
... Audience and On Leaving the Theatre , by Edward Bond , from " Theatre Poems and Songs " , 1978 edition . Signet Books , by arrangement with New Directions Books and Tennessee Williams , for the extract from A Streetcar Named Desire , by ...
... Audience and On Leaving the Theatre , by Edward Bond , from " Theatre Poems and Songs " , 1978 edition . Signet Books , by arrangement with New Directions Books and Tennessee Williams , for the extract from A Streetcar Named Desire , by ...
Стр. 11
... audience . It is about how to use the freedom we get in exercises when we are being real in speech . It is about making the language organic , so that the words act as the spur to the sound , and so that flexibility and range are found ...
... audience . It is about how to use the freedom we get in exercises when we are being real in speech . It is about making the language organic , so that the words act as the spur to the sound , and so that flexibility and range are found ...
Стр. 14
... audience . He wants it to be accurate to his intention and to sound unforced . He wants to know that he is carrying the listener with him for , in the end , it is the voice which sets up the main bond between him and his audience ...
... audience . He wants it to be accurate to his intention and to sound unforced . He wants to know that he is carrying the listener with him for , in the end , it is the voice which sets up the main bond between him and his audience ...
Стр. 15
... audience , a different style of speaking perhaps . 1 ATTITUDES TO VOICE 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 ...
... audience , a different style of speaking perhaps . 1 ATTITUDES TO VOICE 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 ...
Стр. 21
... audience obviously we speak louder so that they can hear - but in a subtle way we still keep the words at an energy level with which we are comfortable . In fact we increase the sound energy , the volume , but do not increase the verbal ...
... audience obviously we speak louder so that they can hear - but in a subtle way we still keep the words at an energy level with which we are comfortable . In fact we increase the sound energy , the volume , but do not increase the verbal ...
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