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. 7
... hear her shrieks of laughter and her intense , private whispers as she looks full into your eyes and you will glimpse that ingredient that makes her an inspirational teacher , her humanity , or perhaps I should say , her love ...
... hear her shrieks of laughter and her intense , private whispers as she looks full into your eyes and you will glimpse that ingredient that makes her an inspirational teacher , her humanity , or perhaps I should say , her love ...
Стр. 11
... hear it , and how we unconsciously use it in the light of our personality , our physical make - up and our ... hear it ( our ear ) , and this is also involved with our aesthetic pleasure in sound and consequent judgement of it ; c ) our ...
... hear it , and how we unconsciously use it in the light of our personality , our physical make - up and our ... hear it ( our ear ) , and this is also involved with our aesthetic pleasure in sound and consequent judgement of it ; c ) our ...
Стр. 16
... hear it accurately . We obviously never hear it in the way we hear someone else's voice - we are aware of this when we hear ourselves on tape , but even then we listen subjectively . It certainly seldom tallies with how others hear us ...
... hear it accurately . We obviously never hear it in the way we hear someone else's voice - we are aware of this when we hear ourselves on tape , but even then we listen subjectively . It certainly seldom tallies with how others hear us ...
Стр. 17
... hear it as a mannerism . So when an actor is working on a part , he needs to discover and experience feelings while he is speaking , while at the same time he must know what effect his voice is having . He needs to know his voice both ...
... hear it as a mannerism . So when an actor is working on a part , he needs to discover and experience feelings while he is speaking , while at the same time he must know what effect his voice is having . He needs to know his voice both ...
Стр. 21
... hear - but in a subtle way we still keep the words at an energy level with which we are comfortable . In fact we increase the sound energy , the volume , but do not increase the verbal energy to balance with it . Now the energy required ...
... hear - but in a subtle way we still keep the words at an energy level with which we are comfortable . In fact we increase the sound energy , the volume , but do not increase the verbal energy to balance with it . Now the energy required ...
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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Часто встречающиеся слова и выражения
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