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. 9
... ourselves in the words ; because it is so rich and extraordinary we are forced to be bold and even extravagant and so perhaps discover more possibilities within our own voice than we are aware of ; because , in a very practical sense ...
... ourselves in the words ; because it is so rich and extraordinary we are forced to be bold and even extravagant and so perhaps discover more possibilities within our own voice than we are aware of ; because , in a very practical sense ...
Стр. 10
... ourselves varies enormously with each individual . This becomes even more complex when we are dealing with text . As we shall be talking a great deal about the image we have of our own voice and how this conditions the way we work on it ...
... ourselves varies enormously with each individual . This becomes even more complex when we are dealing with text . As we shall be talking a great deal about the image we have of our own voice and how this conditions the way we work on it ...
Стр. 11
... ourselves . In Voice and the Actor I have covered the general aspects of voice production . However I will be adding to the exercises given there , for since writing it I have developed the work and I think the emphasis has slightly ...
... ourselves . In Voice and the Actor I have covered the general aspects of voice production . However I will be adding to the exercises given there , for since writing it I have developed the work and I think the emphasis has slightly ...
Стр. 16
... ourselves our self - image- and with the image of ourselves we wish to present . It is therefore bound absolutely to our own self - confidence , and so is particularly sensitive to both criticism and to feelings of unease . This is true ...
... ourselves our self - image- and with the image of ourselves we wish to present . It is therefore bound absolutely to our own self - confidence , and so is particularly sensitive to both criticism and to feelings of unease . This is true ...
Стр. 17
... ourselves do not hear it as a mannerism . So when an actor is working on a part , he needs to discover and experience feelings while he is speaking , while at the same time he must know what effect his voice is having . He needs to know ...
... ourselves do not hear it as a mannerism . So when an actor is working on a part , he needs to discover and experience feelings while he is speaking , while at the same time he must know what effect his voice is having . He needs to know ...
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