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
... Exercises Chapter Six: Substance of the Text 1 Sounds: vowels and consonants 2 Hearing the language: substance of text 3 language fabric 1 S 24 32 52 82 82 95 I04 110 US 121 128 I40 I43 143 148 157 Chapter Seven: Metre and Energy 1 ...
... Exercises Chapter Six: Substance of the Text 1 Sounds: vowels and consonants 2 Hearing the language: substance of text 3 language fabric 1 S 24 32 52 82 82 95 I04 110 US 121 128 I40 I43 143 148 157 Chapter Seven: Metre and Energy 1 ...
Стр. 6
... Exercises Further Perspectives Index of Quotations Quotes by Subject l7] l7] l78 l85 189 205 205 213 220 229 240 25] 25l 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 l7] l7] l78 l85 189 205 205 213 220 229 240 25] 25l 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 are ...
... 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 are ...
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. 17
... exercise. Obviously none of this is wrong, for we need confidence and we need to be able to trust in our own voice — yet this reliance on our own sound, without realizing it, gives the words a secondary importance. And this is ...
... exercise. Obviously none of this is wrong, for we need confidence and we need to be able to trust in our own voice — yet this reliance on our own sound, without realizing it, gives the words a secondary importance. And this is ...
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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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