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. 5
... Heightened versus Naturalistic Text Part TWO: Shakespeare — Setting out the Rules Chapter Three: Metre and Rhythm Chapter Four: Structures, Energy' Imagery and Sound 1 Energy through the text 2 Antithesis 3 Substance of the word 4 ...
... Heightened versus Naturalistic Text Part TWO: Shakespeare — Setting out the Rules Chapter Three: Metre and Rhythm Chapter Four: Structures, Energy' Imagery and Sound 1 Energy through the text 2 Antithesis 3 Substance of the word 4 ...
Стр. 7
... heightened and prosaic~her missionary zeal. her reciprocal requirement for seriousness and dedication. But. gentle reader. try as you work through these chapters to hear her shrieks of laughter and her intense. private whispers as she ...
... heightened and prosaic~her missionary zeal. her reciprocal requirement for seriousness and dedication. But. gentle reader. try as you work through these chapters to hear her shrieks of laughter and her intense. private whispers as she ...
Стр. 9
... heightened or poetic text where there is a certain size to the language, and where the expectations of the listener are often an inhibiting factor — i.e., these texts have been heard before. But whatever the style of the writing, the ...
... heightened or poetic text where there is a certain size to the language, and where the expectations of the listener are often an inhibiting factor — i.e., these texts have been heard before. But whatever the style of the writing, the ...
Стр. 10
... heightened 7— it is performed -— and we have to find its particular voice and place that particular language, I think it is also important to say here that, as actors, we are able to be articulate through the language we bring alive; we ...
... heightened 7— it is performed -— and we have to find its particular voice and place that particular language, I think it is also important to say here that, as actors, we are able to be articulate through the language we bring alive; we ...
Стр. 22
... heightened language, but I believe it to be true of naturalistic writing as well. To fill another character we need to open ourselves to all the possibilities of the language, and this has to reach an audience not iust by being loud ...
... heightened language, but I believe it to be true of naturalistic writing as well. To fill another character we need to open ourselves to all the possibilities of the language, and this has to reach an audience not iust by being loud ...
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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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