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. 9
... important for the modern actor , the structure of the thought demands both courage and discipline . The main part of this book , then , deals with the Shakespeare and with the challenge of classical text speaking of and it is practical ...
... important for the modern actor , the structure of the thought demands both courage and discipline . The main part of this book , then , deals with the Shakespeare and with the challenge of classical text speaking of and it is practical ...
Стр. 10
... important to say here that , as actors , we are able to be articulate through the language we bring alive ; we therefore have a responsibility to that language . The care and life that we bring to it helps the hearers also to be ...
... important to say here that , as actors , we are able to be articulate through the language we bring alive ; we therefore have a responsibility to that language . The care and life that we bring to it helps the hearers also to be ...
Стр. 11
... important always to remember the subjective nature of the voice , for it helps us to work through the limitations we make for ourselves . In Voice and the Actor I have covered the general aspects of voice production . However I will be ...
... important always to remember the subjective nature of the voice , for it helps us to work through the limitations we make for ourselves . In Voice and the Actor I have covered the general aspects of voice production . However I will be ...
Стр. 15
... important : ( a ) The reliance we put on our own sound To a large extent I think we are trapped in our own sound and sound pattern . This is because our voice has evolved with us , and is therefore a complex mix of background , physical ...
... important : ( a ) The reliance we put on our own sound To a large extent I think we are trapped in our own sound and sound pattern . This is because our voice has evolved with us , and is therefore a complex mix of background , physical ...
Стр. 16
... important point I think is this : we are more strongly aware of our own sound than we realize , and that sound is strongly bound to our emotional state , and to our self - esteem . Yet , because we hear the sound via the bone conduction ...
... important point I think is this : we are more strongly aware of our own sound than we realize , and that sound is strongly bound to our emotional state , and to our self - esteem . Yet , because we hear the sound via the bone conduction ...
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