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 factor — i.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 controlled ...
... listener are often an inhibiting factor — i.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 controlled ...
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 will ...
... 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 will ...
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 rehearsal or ...
... 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 rehearsal or ...
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 moment ...
... 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 moment ...
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 suddenly I ...
... 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 suddenly I ...
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