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 movement ...
... 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 movement ...
Стр. 18
... naturalistic, language is always a positive choice. and as such it is special, and must create interest in the bearer. Perhaps what we should hold on to is this: that the words must be a release of the inner life, and not either an ...
... naturalistic, language is always a positive choice. and as such it is special, and must create interest in the bearer. Perhaps what we should hold on to is this: that the words must be a release of the inner life, and not either an ...
Стр. 21
... 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 there. 21 SOUND AND MEANING.
... 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 there. 21 SOUND AND MEANING.
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 iust by being loud enough, but by being filled with purpose. The making of ...
... 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 iust by being loud enough, but by being filled with purpose. The making of ...
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 working in ...
... 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 working in ...
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