The Actor And The TextCicely 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
But. gentle reader. try as you work through these chapters to 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, ...
But. gentle reader. try as you work through these chapters to 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, ...
Стр. 11
which we arrive at is the most intricate mixture of what we hear, how we hear it, and how we unconsciously use it in the light of our personality. our physical makeup and our experience. That is to say, how we use our voice is ...
which we arrive at is the most intricate mixture of what we hear, how we hear it, and how we unconsciously use it in the light of our personality. our physical makeup and our experience. That is to say, how we use our voice is ...
Стр. 16
Yet, because we hear the sound via the bone conduction in our own heads, and also because we hear it subjectively in the sense that it is tied up with our perception of our voice and how we would like it to sound, and also to how we ...
Yet, because we hear the sound via the bone conduction in our own heads, and also because we hear it subjectively in the sense that it is tied up with our perception of our voice and how we would like it to sound, and also to how we ...
Стр. 17
We ourselves do not 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.
We ourselves do not 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.
Стр. 21
This of course does not mean that we are not aware of projecting to an audience — obviously we speak louder so that they can hear — but in a subtle way we still keep the words at an energy level with which we are comfortable.
This of course does not mean that we are not aware of projecting to an audience — obviously we speak louder so that they can hear — but in a subtle way we still keep the words at an energy level with which we are comfortable.
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LibraryThing Review
Пользовательский отзыв - DeborahJ2016 - LibraryThingA guide to exploring the written and spoken styles of theatre and language and how to approach them as a performer. Includes warm-up exercises and rehearsal techniques. Читать весь отзыв
LibraryThing Review
Пользовательский отзыв - Roger_Scoppie - LibraryThingThis is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional ... Читать весь отзыв
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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Часто встречающиеся слова и выражения
actor antithesis Antony and Cleopatra audience aware become beginning breath caesura character Cicely Berry consonants Coriolanus defined Delroy dialogue difficult doth Dream emotional energy exercises feel final find finding finish first fit give Hamlet happens hath hear heightened Hippolyta Iago imagery important influenced Juliet Julius Caesar keep King King Lear language Lear Leontes listener look Macbeth meaning metre mind move movement naturalistic 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 Romeo and Juliet Rosalind round scene sense Shakespeare sing soliloquy sonnet sound space speak the text specific speech stress style syllables talking texture thee Theseus thing thou thought structure Troilus verse voice vowels weight whole Winter's Tale words writing
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 |