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
... gives the text which he finally has to speak . It is as if the energy and excitement that an actor feels when working on a part is not released fully when he commits to words , when he is bound by the language set down . And this is ...
... gives the text which he finally has to speak . It is as if the energy and excitement that an actor feels when working on a part is not released fully when he commits to words , when he is bound by the language set down . And this is ...
Стр. 11
... give us the confidence to trust in ourselves and in the text . One last point : I felt the word actor , as referring to both male and female , was correct . At the time of writing I chose to use he rather than he / she , believing it to ...
... give us the confidence to trust in ourselves and in the text . One last point : I felt the word actor , as referring to both male and female , was correct . At the time of writing I chose to use he rather than he / she , believing it to ...
Стр. 14
... 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 imagination directly across to the audience . He wants it to be accurate to his intention ...
... 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 imagination directly across to the audience . He wants it to be accurate to his intention ...
Стр. 17
... gives the words a secondary importance . And this is reinforced by the fact that we hear the sound in our own heads more dominantly than the words , and this is a very important point . It is always interesting , for instance , when you ...
... gives the words a secondary importance . And this is reinforced by the fact that we hear the sound in our own heads more dominantly than the words , and this is a very important point . It is always interesting , for instance , when you ...
Стр. 21
... gives the speaker another dimension . They are also very practical notions to hold on to . But I would make a further point : if we are truly to make the words active , it asks for a commitment to the work beyond a personal commitment ...
... gives the speaker another dimension . They are also very practical notions to hold on to . But I would make a further point : if we are truly to make the words active , it asks for a commitment to the work beyond a personal commitment ...
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