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 1 S 24 32 52 82 82 95 I04 110 US 121 128 I40 I43 143 148 157 Chapter Seven: Metre and Energy 1 Metre 2 Energy through.
... language: substance of text 3 language fabric 1 S 24 32 52 82 82 95 I04 110 US 121 128 I40 I43 143 148 157 Chapter Seven: Metre and Energy 1 Metre 2 Energy through.
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. a ...
... 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. a ...
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 ...
... 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 ...
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 as an ...
... 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 as an ...
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
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