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
... if his energy becomes too inward and controlled the words become dull; if he presses too much energy out the words will be unfocused and the thought will be generalized. Either way the result is that the speaking of text or dialogue ...
... if his energy becomes too inward and controlled the words become dull; if he presses too much energy out the words will be unfocused and the thought will be generalized. Either way the result is that the speaking of text or dialogue ...
Стр. 10
This becomes even more complex when we are dealing with text. As we shall be talking a great deal about the image we have of our own voice and how this conditions the way we work on it, it is perhaps useful here to recap briefly on what ...
This becomes even more complex when we are dealing with text. As we shall be talking a great deal about the image we have of our own voice and how this conditions the way we work on it, it is perhaps useful here to recap briefly on what ...
Стр. 11
We do not use them as our thoughts in action, which are always shifting and changing, and are the result of both thought and feeling. Secondly too often the imaginative process becomes ordinary at the moment of speaking.
We do not use them as our thoughts in action, which are always shifting and changing, and are the result of both thought and feeling. Secondly too often the imaginative process becomes ordinary at the moment of speaking.
Стр. 18
In a sense, the words are by-passed, and they become slightly less important than the thought, instead of being the thought in action. So the actor remains iust behind the words — a metaphorical half inch — and not quite on them.
In a sense, the words are by-passed, and they become slightly less important than the thought, instead of being the thought in action. So the actor remains iust behind the words — a metaphorical half inch — and not quite on them.
Стр. 19
The result is that the speaking becomes what l call passive, and not active, in that we are presenting the result of a thought and not the thought itself. We are then at one remove from the words, and there is no possibility of either ...
The result is that the speaking becomes what l call passive, and not active, in that we are presenting the result of a thought and not the thought itself. We are then at one remove from the words, and there is no possibility of either ...
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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 |