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 speaking of Shakespeare and with the challenge of classical text — 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 speaking of Shakespeare and with the challenge of classical text — 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 articulate ...
... 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 articulate ...
Стр. 11
... important always to remember the subiective nature of the voice, for it helps us to work through the limitations we make for ourselves. In Voice and the Actor 1 have covered the general aspects of voice production, However I will be ...
... important always to remember the subiective nature of the voice, for it helps us to work through the limitations we make for ourselves. In Voice and the Actor 1 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 make ...
... 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 make ...
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 selfesteem. Yet, because we hear the sound via the bone conduction in our ...
... 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 selfesteem. Yet, because we hear the sound via the bone conduction in our ...
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