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
... between the physical and verbal life of the characters is totally apparent and palpable; and lastly because, and this is particularly important for the modern actor, the structure of the thought demands both courage and discipline.
... between the physical and verbal life of the characters is totally apparent and palpable; and lastly because, and this is particularly important for the modern actor, the structure of the thought demands both courage and discipline.
Стр. 16
None of this happens particularly consciously, or necessarily at a very deep level; nevertheless, the voice is extremely sensitive to our own ego. The important point I think is this: we are more strongly aware of our own sound than we ...
None of this happens particularly consciously, or necessarily at a very deep level; nevertheless, the voice is extremely sensitive to our own ego. The important point I think is this: we are more strongly aware of our own sound than we ...
Стр. 29
... for an actor to iron out his own regional variations, for often you 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.
... for an actor to iron out his own regional variations, for often you 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.
Стр. 30
I worked on King Lear in a German translation with a group of actors in Hamburg, and I remember particularly this Cordelia speech and how we worked on it. Its whole nature changed because of the didactic sound of the German language, ...
I worked on King Lear in a German translation with a group of actors in Hamburg, and I remember particularly this Cordelia speech and how we worked on it. Its whole nature changed because of the didactic sound of the German language, ...
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.
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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 |