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. 5
... Naturalistic Text Part TWO : Shakespeare Setting out the Rules Chapter Three : Metre and Rhythm Chapter Four : Structures , Energy , Imagery and Sound 1 Energy through the text 2 Antithesis 3 Substance of the word 4 Discovery and ...
... Naturalistic Text Part TWO : Shakespeare Setting out the Rules Chapter Three : Metre and Rhythm Chapter Four : Structures , Energy , Imagery and Sound 1 Energy through the text 2 Antithesis 3 Substance of the word 4 Discovery and ...
Стр. 21
... obviously influenced in this by television , where the more naturalistic the actor appears the better , though even this requires to be presented and needs great skill , but of a different kind . In all live performance. 21 SOUND AND ...
... obviously influenced in this by television , where the more naturalistic the actor appears the better , though even this requires to be presented and needs great skill , but of a different kind . In all live performance. 21 SOUND AND ...
Стр. 22
... naturalistic writing as well . To fill another character we need to open ourselves to all the possibilities of the language , and this has to reach an audience not just by being loud enough , but by being filled with purpose . The ...
... naturalistic writing as well . To fill another character we need to open ourselves to all the possibilities of the language , and this has to reach an audience not just by being loud enough , but by being filled with purpose . The ...
Стр. 30
... naturalistic level , and fairly quiet and quick , we must still honour the energy needed for the consonants at that level , or they will drop away and become difficult to catch , and so the language will become less active . When ...
... naturalistic level , and fairly quiet and quick , we must still honour the energy needed for the consonants at that level , or they will drop away and become difficult to catch , and so the language will become less active . When ...
Стр. 31
... the language . None of this is particularly difficult or complicated as we shall see : it is just a matter of focusing the energy that is already there . Chapter 2 HEIGHTENED VERSUS NATURALISTIC TEXT I know that many 31 SOUND AND MEANING.
... the language . None of this is particularly difficult or complicated as we shall see : it is just a matter of focusing the energy that is already there . Chapter 2 HEIGHTENED VERSUS NATURALISTIC TEXT I know that many 31 SOUND AND MEANING.
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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Часто встречающиеся слова и выражения
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