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. 5
... of the Text Chapter Five : Introduction to the Exercises 1 Sounds : vowels and consonants 2 Hearing the language : substance of text 3 Language fabric 140 143 143 148 157 Chapter Seven : Metre and Energy 1 Metre 2 Energy.
... of the Text Chapter Five : Introduction to the Exercises 1 Sounds : vowels and consonants 2 Hearing the language : substance of text 3 Language fabric 140 143 143 148 157 Chapter Seven : Metre and Energy 1 Metre 2 Energy.
Стр. 17
... it could be that the speaker is not finding the correct muscular pressure for the consonants , and certainly this is often the case ; but it is never just that , for it always has to do with the speaker's commitment. 17 SOUND AND MEANING.
... it could be that the speaker is not finding the correct muscular pressure for the consonants , and certainly this is often the case ; but it is never just that , for it always has to do with the speaker's commitment. 17 SOUND AND MEANING.
Стр. 21
... consonants , being aware of the physical movement of the words and making them reach . We tend to reduce their possibilities to our everyday expectation of them -- anything else sounds slightly false to our ears instead of giving them ...
... consonants , being aware of the physical movement of the words and making them reach . We tend to reduce their possibilities to our everyday expectation of them -- anything else sounds slightly false to our ears instead of giving them ...
Стр. 23
... consonants and reduce the vowels to equal short weight and length . The speaking then becomes emphatic , which at once reduces the possibilities within the text by keeping it at a totally logical level . It is literal and allows for no ...
... consonants and reduce the vowels to equal short weight and length . The speaking then becomes emphatic , which at once reduces the possibilities within the text by keeping it at a totally logical level . It is literal and allows for no ...
Стр. 29
... consonants take to speak varies according to whether they are unvoiced or voiced , plosive or con- tinuant , and how many there are . For example , the end consonants take less time in the words ' vexed ' , ' hardokes ' , ' rank ...
... consonants take to speak varies according to whether they are unvoiced or voiced , plosive or con- tinuant , and how many there are . For example , the end consonants take less time in the words ' vexed ' , ' hardokes ' , ' rank ...
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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Часто встречающиеся слова и выражения
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