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
... language : substance of text 3 Language fabric 140 143 143 148 157 Chapter Seven : Metre and Energy 1 Metre 2 Energy.
... language : substance of text 3 Language fabric 140 143 143 148 157 Chapter Seven : Metre and Energy 1 Metre 2 Energy.
Стр. 7
... language , its roots , its possibilities of meaning , its physical seat and vibration , its associations , its weight and texture and colour . More than a teacher , she is a director , an analyst , a critic , a sociologist and above all ...
... language , its roots , its possibilities of meaning , its physical seat and vibration , its associations , its weight and texture and colour . More than a teacher , she is a director , an analyst , a critic , a sociologist and above all ...
Стр. 9
... language set down . And this is true of all kinds of text , both modern and classical , though the problems are different and the gap is more apparent in the speaking of heightened or poetic text where there is a certain size to the ...
... language set down . And this is true of all kinds of text , both modern and classical , though the problems are different and the gap is more apparent in the speaking of heightened or poetic text where there is a certain size to the ...
Стр. 10
... language and are useful . These have always been in the area of relating acting method to practical direct speaking . I would like , therefore , to set down what I have learnt . However , I think it would be limiting if we left it there ...
... language and are useful . These have always been in the area of relating acting method to practical direct speaking . I would like , therefore , to set down what I have learnt . However , I think it would be limiting if we left it there ...
Стр. 11
... language organic , so that the words act as the spur to the sound , and so that flexibility and range are found because the words require them . Finally , two general points . I think we tend to use words as if they belong to either our ...
... language organic , so that the words act as the spur to the sound , and so that flexibility and range are found because the words require them . Finally , two general points . I think we tend to use words as if they belong to either our ...
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