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. 14
... happen to a large extent through his voice and speech . Above all , he wants it to be interesting . This sounds simple enough , but many things get in the way . For , paradoxically , often the more truthful he wants to be and the more ...
... happen to a large extent through his voice and speech . Above all , he wants it to be interesting . This sounds simple enough , but many things get in the way . For , paradoxically , often the more truthful he wants to be and the more ...
Стр. 16
... happens particularly consciously , or necessarily at a very deep level ; nevertheless , the voice is extremely sensitive to our own ego . The important point I think is this : we are more strongly aware of our own sound than we realize ...
... happens particularly consciously , or necessarily at a very deep level ; nevertheless , the voice is extremely sensitive to our own ego . The important point I think is this : we are more strongly aware of our own sound than we realize ...
Стр. 19
... happens . The result is that the speaking becomes what I call passive , and not active , in that we are presenting the result of a thought and not the thought itself . We are then at one remove from the words , and there is no ...
... happens . The result is that the speaking becomes what I call passive , and not active , in that we are presenting the result of a thought and not the thought itself . We are then at one remove from the words , and there is no ...
Стр. 22
... happen , because we begin to feel out of control of the sense . I know from my experience in working on Shakespeare with groups of schoolchildren - mainly 15 to 18 - year - olds that those who are classed as low ability readers get a ...
... happen , because we begin to feel out of control of the sense . I know from my experience in working on Shakespeare with groups of schoolchildren - mainly 15 to 18 - year - olds that those who are classed as low ability readers get a ...
Стр. 23
... happens to actors at all levels of experience , is get caught up in the idea of how best to put the text over , and this makes us lose contact with the text itself . For it inhibits the less conscious responses , and it is those ...
... happens to actors at all levels of experience , is get caught up in the idea of how best to put the text over , and this makes us lose contact with the text itself . For it inhibits the less conscious responses , and it is those ...
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