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
... patterns ཨྰཿ R འཎྜསྠ ་ྲ པྲ སྲྀ 52 82 82 90 95 104 110 115 121 8 Structure of speeches 128 Part THREE : Shakespeare the Practical Means Chapter Six : Substance of the Text Chapter Five : Introduction to the Exercises 1 Sounds : vowels ...
... patterns ཨྰཿ R འཎྜསྠ ་ྲ པྲ སྲྀ 52 82 82 90 95 104 110 115 121 8 Structure of speeches 128 Part THREE : Shakespeare the Practical Means Chapter Six : Substance of the Text Chapter Five : Introduction to the Exercises 1 Sounds : vowels ...
Стр. 15
... pattern . This is because our voice has evolved with us , and is therefore a complex mix of background , physical make - up and personality , and the interactions of one upon the other . And because of this we quite involuntarily make a ...
... pattern . This is because our voice has evolved with us , and is therefore a complex mix of background , physical make - up and personality , and the interactions of one upon the other . And because of this we quite involuntarily make a ...
Стр. 16
... patterns . Let me explain : given that our voice is our sound presence , and is the means by which we commit our private world to the world outside , it is tied up with how we think of ourselves our self - image- and with the image of ...
... patterns . Let me explain : given that our voice is our sound presence , and is the means by which we commit our private world to the world outside , it is tied up with how we think of ourselves our self - image- and with the image of ...
Стр. 19
... patterns and change , often subversively and always with wit . Yet words evolved out of noises which were first made to communicate basic needs ; they were in fact signals . And we still have that sense memory within us that resonance ...
... patterns and change , often subversively and always with wit . Yet words evolved out of noises which were first made to communicate basic needs ; they were in fact signals . And we still have that sense memory within us that resonance ...
Стр. 23
... pattern of working . The actor whose pattern it is to emphasize the logic of the character , will tend to be didactic and overweight the stress of the words . Technically this will make him press out the consonants and reduce the vowels ...
... pattern of working . The actor whose pattern it is to emphasize the logic of the character , will tend to be didactic and overweight the stress of the words . Technically this will make him press out the consonants and reduce the vowels ...
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