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
... listener are often an inhibiting factori.e . , these texts have been heard before . But whatever the style of the writing , the actor has to find the right energy for that particular text ; if his energy becomes too inward and ...
... listener are often an inhibiting factori.e . , these texts have been heard before . But whatever the style of the writing , the actor has to find the right energy for that particular text ; if his energy becomes too inward and ...
Стр. 14
... listener with him for , in the end , it is the voice which sets up the main bond between him and his audience . Certainly this is true of Western theatre . He knows that the audience want to be let into his character , and that this ...
... listener with him for , in the end , it is the voice which sets up the main bond between him and his audience . Certainly this is true of Western theatre . He knows that the audience want to be let into his character , and that this ...
Стр. 17
... listener . Small differences seem big . Yet the actor has got to feel true to his sound , for , just as a writer cannot take the words back once they are in print , so an actor , once he has committed himself to speech , either in ...
... listener . Small differences seem big . Yet the actor has got to feel true to his sound , for , just as a writer cannot take the words back once they are in print , so an actor , once he has committed himself to speech , either in ...
Стр. 19
... listener being surprised by them . They cannot take us anywhere . And , to tie this up with what I said earlier , I think we do this to keep control over what we are speaking , because we do not quite have the courage to live at the ...
... listener being surprised by them . They cannot take us anywhere . And , to tie this up with what I said earlier , I think we do this to keep control over what we are speaking , because we do not quite have the courage to live at the ...
Стр. 20
... 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 so many things that he said which informed my attitude to work ) ; and ...
... 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 so many things that he said which informed my attitude to work ) ; and ...
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