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. 10
... keeps our ears tuned to the colloquial rhythms of everyday speech , which need to be integrated into our speaking of verse . We should be always balancing the two for , in a sense , every piece of text we speak on a stage is heightened ...
... keeps our ears tuned to the colloquial rhythms of everyday speech , which need to be integrated into our speaking of verse . We should be always balancing the two for , in a sense , every piece of text we speak on a stage is heightened ...
Стр. 15
... keep reassessing our attitudes to language - never taking it for granted for this is our commitment ; and each piece of writing asks for a different connection between the actor and his audience , a different style of speaking perhaps ...
... keep reassessing our attitudes to language - never taking it for granted for this is our commitment ; and each piece of writing asks for a different connection between the actor and his audience , a different style of speaking perhaps ...
Стр. 19
... keep control over what we are speaking , because we do not quite have the courage to live at the moment of speech . We make the language behave , instead of staying free to our basic primitive response to it primitive in the sense of ...
... keep control over what we are speaking , because we do not quite have the courage to live at the moment of speech . We make the language behave , instead of staying free to our basic primitive response to it primitive in the sense of ...
Стр. 20
... keep in mind : that words change both the situation , the speaker and the listener . After words are spoken , nothing is quite the same again . I remember Peter Brook saying words to that effect during rehearsals of The Dream ( one of ...
... keep in mind : that words change both the situation , the speaker and the listener . After words are spoken , nothing is quite the same again . I remember Peter Brook saying words to that effect during rehearsals of The Dream ( one of ...
Стр. 21
... keep them at an energy level which we recognize . 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 ...
... keep them at an energy level which we recognize . 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 ...
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