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. 9
I do believe that work on Shakespeare is the surest way of learning about text, and for these reasons: because it demands such a complete investment of ourselves in the words; because it is so rich and extraordinary we are forced to be ...
I do believe that work on Shakespeare is the surest way of learning about text, and for these reasons: because it demands such a complete investment of ourselves in the words; because it is so rich and extraordinary we are forced to be ...
Стр. 10
... how we interpret them for 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 ...
... how we interpret them for 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 ...
Стр. 11
And it is important always to remember the subiective nature of the voice, for it helps us to work through the limitations we make for ourselves. In Voice and the Actor 1 have covered the general aspects of voice production, ...
And it is important always to remember the subiective nature of the voice, for it helps us to work through the limitations we make for ourselves. In Voice and the Actor 1 have covered the general aspects of voice production, ...
Стр. 16
This statement has a great deal to do with class, education and cultural background, and therefore with what we expect of ourselves. Here I do not mean accent - we can work on that quite specifically and get beyond limitations of ...
This statement has a great deal to do with class, education and cultural background, and therefore with what we expect of ourselves. Here I do not mean accent - we can work on that quite specifically and get beyond limitations of ...
Стр. 17
We 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.
We 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.
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LibraryThing Review
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 |