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
... dialogue is too often not as alive or remarkable as the imagination that is feeding it. I do believe that work on Shakespeare is the surest way of learning about text, and for these reasons: because it demands such a complete investment ...
... dialogue is too often not as alive or remarkable as the imagination that is feeding it. I do believe that work on Shakespeare is the surest way of learning about text, and for these reasons: because it demands such a complete investment ...
Стр. 10
... dialogue. We have to honour a greater need, and that is to make what we say remarkable to the bearer. This is what Brecht was 'after. Now obviously this cannot apply to everything we do -- mediocre dialogue in second-rate scripts, for ...
... dialogue. We have to honour a greater need, and that is to make what we say remarkable to the bearer. This is what Brecht was 'after. Now obviously this cannot apply to everything we do -- mediocre dialogue in second-rate scripts, for ...
Стр. 15
... dialogue to take us into the world of the character —— he has to be able to pick up the resonances of the character through the words given in the script. He must touch the character through the language. Yet also we have to allow that ...
... dialogue to take us into the world of the character —— he has to be able to pick up the resonances of the character through the words given in the script. He must touch the character through the language. Yet also we have to allow that ...
Стр. 22
... dialogue from a printed page, which is in itself a cerebral process. We know that to make it our own we have to repeat it until it is physically 'on the tongue'; we have got to get round the words. However, I think that because we see ...
... dialogue from a printed page, which is in itself a cerebral process. We know that to make it our own we have to repeat it until it is physically 'on the tongue'; we have got to get round the words. However, I think that because we see ...
Стр. 34
... dialogue is rooted in everyday speech patterns, and where imagery is more incidental than essential. Now this of course is very loose, and is immediately open to contradiction. For poetic writing is often naturalistic in sound: there ...
... dialogue is rooted in everyday speech patterns, and where imagery is more incidental than essential. Now this of course is very loose, and is immediately open to contradiction. For poetic writing is often naturalistic in sound: there ...
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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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 |