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
... Energy , Imagery and Sound 1 Energy through the text 2 Antithesis 3 Substance of the word 4 Discovery and movement of thought 7 8 9 14 15 24 32 4422 5 Nature of the image , its logic , and its inquiry into nature ... Energy 1 Metre 2 Energy.
... Energy , Imagery and Sound 1 Energy through the text 2 Antithesis 3 Substance of the word 4 Discovery and movement of thought 7 8 9 14 15 24 32 4422 5 Nature of the image , its logic , and its inquiry into nature ... Energy 1 Metre 2 Energy.
Стр. 6
Cicely Berry. Chapter Seven : Metre and Energy 1 Metre 2 Energy through the text 3 Subversion or making language your own Chapter Eight : Acting , Text and Style Chapter Nine : Further Points of Text 1 Prose 2 Heightened music 3 Scene ...
Cicely Berry. Chapter Seven : Metre and Energy 1 Metre 2 Energy through the text 3 Subversion or making language your own Chapter Eight : Acting , Text and Style Chapter Nine : Further Points of Text 1 Prose 2 Heightened music 3 Scene ...
Стр. 9
... energy and excitement that an actor feels when working on a part is not released fully when he commits to words ... energy for that particular text ; if his energy becomes too inward and controlled the words become dull ; if he presses ...
... energy and excitement that an actor feels when working on a part is not released fully when he commits to words ... energy for that particular text ; if his energy becomes too inward and controlled the words become dull ; if he presses ...
Стр. 15
... energy needed for the text you are working with and the space you are working in . And I feel strongly that we tend to work on voice as an end in itself , and somehow do not see that work through clearly enough to the specific speaking ...
... energy needed for the text you are working with and the space you are working in . And I feel strongly that we tend to work on voice as an end in itself , and somehow do not see that work through clearly enough to the specific speaking ...
Стр. 18
... energy needed , for somehow , to be that much more positive in speech is a balance we resist , for it is tied up with our own taste and our wish not to be crude . However , what is important is that the energy of the thought and the ...
... energy needed , for somehow , to be that much more positive in speech is a balance we resist , for it is tied up with our own taste and our wish not to be crude . However , what is important is that the energy of the thought and the ...
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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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