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. 8
... Mind Desire. by Tennessee Willi-ms, first puhliihed in N47. Penguin Modern Haywrights—S luv the esttna [run Dingo, by Chlrlci Wood. first published in I969 The Society of Authors. on behalf of the Bernard Shaw estate, lot the cittnct ...
... Mind Desire. by Tennessee Willi-ms, first puhliihed in N47. Penguin Modern Haywrights—S luv the esttna [run Dingo, by Chlrlci Wood. first published in I969 The Society of Authors. on behalf of the Bernard Shaw estate, lot the cittnct ...
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 main ...
... 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 main ...
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 things ...
... 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 things ...
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 language ...
... 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 language ...
Стр. 27
... mind perhaps may change. Othello: Never, Iago. 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 violent pace ...
... mind perhaps may change. Othello: Never, Iago. 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 violent pace ...
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