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
... particularly important for the modern actor, the structure of the thought demands both courage and discipline. The main part of this book, then, deals with the speaking of Shakespeare and with the challenge of classical text — and it is ...
... particularly important for the modern actor, the structure of the thought demands both courage and discipline. The main part of this book, then, deals with the speaking of Shakespeare and with the challenge of classical text — and it is ...
Стр. 16
... particularly sensitive to both criticism and to feelings of unease. This is true even in our everyday life: we find our voice changes according to how we feel our status to be at any given moment. lt is also true that we are quite ...
... particularly sensitive to both criticism and to feelings of unease. This is true even in our everyday life: we find our voice changes according to how we feel our status to be at any given moment. lt is also true that we are quite ...
Стр. 29
... iron out the vigour of the speech in the process; what is important is to become aware of the energy of the words — particularly the consonants — and fill them out. Now the awareness of the room the sounds need helps 29 SOUND AND MEANING.
... iron out the vigour of the speech in the process; what is important is to become aware of the energy of the words — particularly the consonants — and fill them out. Now the awareness of the room the sounds need helps 29 SOUND AND MEANING.
Стр. 30
... particularly this Cordelia speech and how we worked on it. Its whole nature changed because of the didactic sound of the German language, and how difficult it was for those German actors to free themselves from the functional meaning of ...
... particularly this Cordelia speech and how we worked on it. Its whole nature changed because of the didactic sound of the German language, and how difficult it was for those German actors to free themselves from the functional meaning of ...
Стр. 31
... . 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 l know that many 3| SOUND AND MEANING.
... . 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 l know that many 3| SOUND AND MEANING.
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