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. 7
... into your eyes and you will glimpse that ingredient that makes her an inspirational teacher , her humanity , or perhaps I should say , her love . --- TREVOR NUNN Acknowledgments The author would like to thank the following for. 7.
... into your eyes and you will glimpse that ingredient that makes her an inspirational teacher , her humanity , or perhaps I should say , her love . --- TREVOR NUNN Acknowledgments The author would like to thank the following for. 7.
Стр. 9
... perhaps discover more possibilities within our own voice than we are aware of ; because , in a very practical sense , the connection between the physical and verbal life of the characters is totally apparent and palpable ; and lastly ...
... perhaps discover more possibilities within our own voice than we are aware of ; because , in a very practical sense , the connection between the physical and verbal life of the characters is totally apparent and palpable ; and lastly ...
Стр. 10
... perhaps useful here to recap briefly on what I have already written in Voice and the Actor * , about how we arrive at our voice . Briefly it is this : the voice which we arrive at is the most intricate mixture of. * First published by ...
... perhaps useful here to recap briefly on what I have already written in Voice and the Actor * , about how we arrive at our voice . Briefly it is this : the voice which we arrive at is the most intricate mixture of. * First published by ...
Стр. 15
... perhaps . 1 ATTITUDES TO VOICE First , I want to look at the factors which hold us back from making the text as rich and alive as possible . This may seem negative , but I think there are certain attitudes and ways of working by which ...
... perhaps . 1 ATTITUDES TO VOICE First , I want to look at the factors which hold us back from making the text as rich and alive as possible . This may seem negative , but I think there are certain attitudes and ways of working by which ...
Стр. 17
... perhaps ear . Now when we make adjustments to how we speak , the difference we hear inside our heads is often much greater than it sounds to the listener . Small differences seem big . Yet the actor has got to feel true to his sound ...
... perhaps ear . Now when we make adjustments to how we speak , the difference we hear inside our heads is often much greater than it sounds to the listener . Small differences seem big . Yet the actor has got to feel true to his sound ...
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