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. 7
... looks full into your eyes and you will glimpse that ingredient that makes her an inspirational teacher, her humanity, or perhaps I should say, her love. Jhmvok NUNN Acknowledgments The authnl would like to thank the following for.
... looks full into your eyes and you will glimpse that ingredient that makes her an inspirational teacher, her humanity, or perhaps I should say, her love. Jhmvok NUNN Acknowledgments The authnl would like to thank the following for.
Стр. 15
... look at the factors which hold us back from making the text as rich and alive as possible. This may seem negative, but 1 think there are certain attitudes and ways of working by which we are conditioned, which take our attention away ...
... look at the factors which hold us back from making the text as rich and alive as possible. This may seem negative, but 1 think there are certain attitudes and ways of working by which we are conditioned, which take our attention away ...
Стр. 20
... look back upon the event after a time without seemingly feeling upset. However, were we to tell someone about it, the act of putting the feeling into words — finding the words associated with the feeling and being precise about it — can ...
... look back upon the event after a time without seemingly feeling upset. However, were we to tell someone about it, the act of putting the feeling into words — finding the words associated with the feeling and being precise about it — can ...
Стр. 23
... look at them obiectively for they can limit our work in rehearsal, and it is the choices we make there that we bring into performance. It is difficult to find an extravagance in language, a music which is perhaps beyond our everyday ...
... look at them obiectively for they can limit our work in rehearsal, and it is the choices we make there that we bring into performance. It is difficult to find an extravagance in language, a music which is perhaps beyond our everyday ...
Стр. 24
... look at our attitudes to the practical work that will help us through to this freedom. 2 THE PRACTICAL MEANS 1 want to look now at how we prepare our voice through exercise and see how we can connect that work more organically to our ...
... look at our attitudes to the practical work that will help us through to this freedom. 2 THE PRACTICAL MEANS 1 want to look now at how we prepare our voice through exercise and see how we can connect that work more organically to 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