The Actor And The TextCicely 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
... because it is so rich and extraordinary we are forced to be bold and even extravagant and so perhaps discover more possibilities within our own voice than we are aware of; because, in a very practical sense, the connection between ...
... because it is so rich and extraordinary we are forced to be bold and even extravagant and so perhaps discover more possibilities within our own voice than we are aware of; because, in a very practical sense, the connection between ...
Стр. 16
The important point I think is this: we are more strongly 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 ...
The important point I think is this: we are more strongly 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 ...
Стр. 21
This of course does not mean that we are not 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.
This of course does not mean that we are not 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.
Стр. 29
I feel strongly that it is not important for an actor to iron out his own regional variations, for often you iron out the vigour of the speech in the process; what is important is to become aware of the energy of the words ...
I feel strongly that it is not important for an actor to iron out his own regional variations, for often you iron out the vigour of the speech in the process; what is important is to become aware of the energy of the words ...
Стр. 35
Even so it helps us to pin-point the differences, and only by recognizing the differences do we begin to be 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 ...
Even so it helps us to pin-point the differences, and only by recognizing the differences do we begin to be 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 ...
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LibraryThing Review
Пользовательский отзыв - DeborahJ2016 - LibraryThingA guide to exploring the written and spoken styles of theatre and language and how to approach them as a performer. Includes warm-up exercises and rehearsal techniques. Читать весь отзыв
LibraryThing Review
Пользовательский отзыв - Roger_Scoppie - LibraryThingThis is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional ... Читать весь отзыв
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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Часто встречающиеся слова и выражения
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
Библиографические данные
| Название | The Actor And The Text |
| Автор | Cicely Berry |
| Издание: | исправленное |
| Издатель | Random House, 2012 |
| ISBN | 0753547341, 9780753547342 |
| Количество страниц | Всего страниц: 304 |
| Экспорт цитаты | BiBTeX EndNote RefMan |