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
... Substance 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.
... Substance 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. 6
... Exercises Further Perspectives Index of Quotations Quotes by Subject 171 171 178 185 189 205 205 213 220 229 240 251 251 253 254 255 260 260 265 273 274 285 297 301 Foreword This book will be used by actors and directors.
... Exercises Further Perspectives Index of Quotations Quotes by Subject 171 171 178 185 189 205 205 213 220 229 240 251 251 253 254 255 260 260 265 273 274 285 297 301 Foreword This book will be used by actors and directors.
Стр. 11
... exercises given there , for since writing it I have developed the work and I think the emphasis has slightly changed . But my starting - point here will be that exercises are already part of the actor's work , that range and flexibility ...
... exercises given there , for since writing it I have developed the work and I think the emphasis has slightly changed . But my starting - point here will be that exercises are already part of the actor's work , that range and flexibility ...
Стр. 14
... exercises : that is to say I want to clarify the aims of the voice work we do , so that it gives maximum support to the words we speak . Ideally , I suppose , every actor wants to know that his voice is carrying what is in his mind and ...
... exercises : that is to say I want to clarify the aims of the voice work we do , so that it gives maximum support to the words we speak . Ideally , I suppose , every actor wants to know that his voice is carrying what is in his mind and ...
Стр. 24
... exercises can feed us in a deeper way than we are accustomed . Exercises should make us ready for the intuitive response . Plainly , freedom with the text comes from knowing what you are saying i.e. , knowing well the character , motive ...
... exercises can feed us in a deeper way than we are accustomed . Exercises should make us ready for the intuitive response . Plainly , freedom with the text comes from knowing what you are saying i.e. , knowing well the character , motive ...
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