The Actor And The TextCicely 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. 22
... and are more deeply moved by them, than do the more sophisticated and highly educated 'A' Level students, They get closer to the sense that a character can be possessed by the words, and as it were, driven by them.
... and are more deeply moved by them, than do the more sophisticated and highly educated 'A' Level students, They get closer to the sense that a character can be possessed by the words, and as it were, driven by them.
Стр. 26
The further we go in getting this integration ofbreath and thought - and by thought I mean the utterance of a character charged with whatever feelings he may have — we begin to experience how the thought itself is moving, ...
The further we go in getting this integration ofbreath and thought - and by thought I mean the utterance of a character charged with whatever feelings he may have — we begin to experience how the thought itself is moving, ...
Стр. 27
And Othello is moved by the current of his own passion. When the breath works for you in this way, it takes the words down to a physical level, deeper than the intellect, and it allows us to be uncmphatic. The passion is then allowed to ...
And Othello is moved by the current of his own passion. When the breath works for you in this way, it takes the words down to a physical level, deeper than the intellect, and it allows us to be uncmphatic. The passion is then allowed to ...
Стр. 28
Articulation exercises -— the old kind of 'patter' exercises -— will make the tongue and lips move more quickly, and for that purpose are good, but they will not necessarily enhance our use of words. For each word has its own energy and ...
Articulation exercises -— the old kind of 'patter' exercises -— will make the tongue and lips move more quickly, and for that purpose are good, but they will not necessarily enhance our use of words. For each word has its own energy and ...
Стр. 36
The reasoning is patently absurd, but there is something so true in the rhythm and the sound that the effect is both comic and moving. 0 wherefore, nature, didst thou lions frame, Since lion vile hath here deflowered my dear?
The reasoning is patently absurd, but there is something so true in the rhythm and the sound that the effect is both comic and moving. 0 wherefore, nature, didst thou lions frame, Since lion vile hath here deflowered my dear?
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Пользовательский отзыв - DeborahJ2016 - LibraryThingA guide to exploring the written and spoken styles of theatre and language and how to approach them as a performer. Includes warm-up exercises and rehearsal techniques. Читать весь отзыв
LibraryThing Review
Пользовательский отзыв - Roger_Scoppie - LibraryThingThis is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional ... Читать весь отзыв
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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Часто встречающиеся слова и выражения
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
Библиографические данные
| Название | The Actor And The Text |
| Автор | Cicely Berry |
| Издание: | исправленное |
| Издатель | Random House, 2012 |
| ISBN | 0753547341, 9780753547342 |
| Количество страниц | Всего страниц: 304 |
| Экспорт цитаты | BiBTeX EndNote RefMan |