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 he wants ...
... 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 he wants ...
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, and ...
... 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, and ...
Стр. 19
... happens. The result is that the speaking becomes what l 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 possibility of ...
... happens. The result is that the speaking becomes what l 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 possibility of ...
Стр. 22
... 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 — mainly l5 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. 1 know from my experience in working on Shakespeare with groups of schoolchildren — mainly l5 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 responses ...
... 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 responses ...
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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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 |