The Actor And The TextCicely 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. 15
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 ... to get more adept at feeling its weight and movement. just as, in everyday life, how a person uses language (or ...
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 ... to get more adept at feeling its weight and movement. just as, in everyday life, how a person uses language (or ...
Стр. 16
Here I do not mean accent - we can work on that quite specifically and get beyond limitations of dialect — what I mean is something more, something we feel inside. We are used to our own voice in a quite palpable way, and I think it ...
Here I do not mean accent - we can work on that quite specifically and get beyond limitations of dialect — what I mean is something more, something we feel inside. We are used to our own voice in a quite palpable way, and I think it ...
Стр. 17
Yet the actor has got to feel true to his sound, for, just as a writer cannot take the words back once they are in print, so an actor, once he has committed himself to speech, either in rehearsal or in performance, feels he has said ...
Yet the actor has got to feel true to his sound, for, just as a writer cannot take the words back once they are in print, so an actor, once he has committed himself to speech, either in rehearsal or in performance, feels he has said ...
Стр. 20
For instance, if there is something in our life about which we have a deep feeling, perhaps of regret or shame, ... But 1 think that awareness is not always allowed to inform the speaking, because we feel we must be in control. it is of ...
For instance, if there is something in our life about which we have a deep feeling, perhaps of regret or shame, ... But 1 think that awareness is not always allowed to inform the speaking, because we feel we must be in control. it is of ...
Стр. 22
The important point is that it makes it difficult for us to live through the words as they happen, because we begin to feel out of control of the sense. 1 know from my experience in working on Shakespeare with groups of schoolchildren ...
The important point is that it makes it difficult for us to live through the words as they happen, because we begin to feel out of control of the sense. 1 know from my experience in working on Shakespeare with groups of schoolchildren ...
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Пользовательский отзыв - DeborahJ2016 - LibraryThingA guide to exploring the written and spoken styles of theatre and language and how to approach them as a performer. Includes warm-up exercises and rehearsal techniques. Читать весь отзыв
LibraryThing Review
Пользовательский отзыв - Roger_Scoppie - LibraryThingThis is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional ... Читать весь отзыв
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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Часто встречающиеся слова и выражения
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
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 |