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 fttlly when he commits to words, when he is bound by the language set down. And this is true ...
... 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 fttlly when he commits to words, when he is bound by the language set down. And this is true ...
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 be less ...
... 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 be less ...
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 and ...
... 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 and ...
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 have ...
... 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 have ...
Стр. 21
... gives the speaker another dimension. They are also very practical notions to hold on to. But l 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 l 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
| 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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