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. 14
... mind and imagination directly across to the audience . He wants it to be accurate to his intention and to sound unforced . He wants to know that he is carrying the listener with him for , in the end , it is the voice which sets up the ...
... mind and imagination directly across to the audience . He wants it to be accurate to his intention and to sound unforced . He wants to know that he is carrying the listener with him for , in the end , it is the voice which sets up the ...
Стр. 20
... mind : that words change both the situation , the speaker and the 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 ...
... mind : that words change both the situation , the speaker and the 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 ...
Стр. 22
... mind . All these points are quite simple , and we know them in our heads , but it is often difficult to get the right perspective on them . For what is always working against the actor , that prevents him from taking time with the ...
... mind . All these points are quite simple , and we know them in our heads , but it is often difficult to get the right perspective on them . For what is always working against the actor , that prevents him from taking time with the ...
Стр. 27
... mind perhaps may change . Othello : Never , lago . Like to the Pontic sea , Whose icy current and compulsive course Ne'er feels retiring ebb , but keeps due on To the Propontic and the Hellespont , Even so my bloody thoughts with ...
... mind perhaps may change . Othello : Never , lago . Like to the Pontic sea , Whose icy current and compulsive course Ne'er feels retiring ebb , but keeps due on To the Propontic and the Hellespont , Even so my bloody thoughts with ...
Стр. 46
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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