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. 9
... aware of; because, in a very practical sense, the connection between the physical and verbal life of the characters is totally apparent and palpable; and lastly because, and this is particularly important for the modern actor, the ...
... aware of; because, in a very practical sense, the connection between the physical and verbal life of the characters is totally apparent and palpable; and lastly because, and this is particularly important for the modern actor, the ...
Стр. 16
... aware of our own sound than we realize, and that sound is strongly bound to our emotional state, and to our selfesteem. Yet, because we hear the sound via the bone conduction in our own heads, and also because we hear it subjectively in ...
... aware of our own sound than we realize, and that sound is strongly bound to our emotional state, and to our selfesteem. Yet, because we hear the sound via the bone conduction in our own heads, and also because we hear it subjectively in ...
Стр. 21
... aware of projecting to an 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 ...
... aware of projecting to an 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 ...
Стр. 29
... the vigour of the speech in the process; what is important is to become aware of the energy of the words — particularly the consonants — and fill them out. Now the awareness of the room the sounds need helps 29 SOUND AND MEANING.
... the vigour of the speech in the process; what is important is to become aware of the energy of the words — particularly the consonants — and fill them out. Now the awareness of the room the sounds need helps 29 SOUND AND MEANING.
Стр. 35
... aware of style, and so of how we speak and how we present that style. To an extent all writing is heightened, for through the style we apprehend part of the meaning: the audience must therefore be able to recognize the style. In being ...
... aware of style, and so of how we speak and how we present that style. To an extent all writing is heightened, for through the style we apprehend part of the meaning: the audience must therefore be able to recognize the style. In being ...
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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actor antithesis Antony and Cleopatra audience aware become beginning breath caesura character Cicely Berry consonants Coriolanus defined Delroy dialogue difficult doth Dream emotional energy exercises feel final find finding finish first fit give Hamlet happens hath hear heightened Hippolyta Iago imagery important influenced Juliet Julius Caesar keep King King Lear language Lear Leontes listener look Macbeth meaning metre mind move movement naturalistic 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 Romeo and Juliet Rosalind round scene sense Shakespeare sing soliloquy sonnet sound space speak the text specific speech stress style syllables talking texture thee Theseus thing thou thought structure Troilus verse voice vowels weight whole Winter's Tale words writing