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. 18
... phrases adequately , but I think that is an easy solution and not necessarily true . I think it is to do with not having ... phrase a Shakespeare speech in order to clarify the meaning , we know that we will miss important clues into the ...
... phrases adequately , but I think that is an easy solution and not necessarily true . I think it is to do with not having ... phrase a Shakespeare speech in order to clarify the meaning , we know that we will miss important clues into the ...
Стр. 26
... phrase for no other reason than that we are afraid we will not have enough . I do believe that when we find this integration of thought and breath , when they are rooted down one with the other , the voice takes on a quite different and ...
... phrase for no other reason than that we are afraid we will not have enough . I do believe that when we find this integration of thought and breath , when they are rooted down one with the other , the voice takes on a quite different and ...
Стр. 27
... phrases which are all part of the whole thought , and it would be possible to speak them naturalistically making sense of each phrase , and break the speech up accordingly . In this way Othello would be explaining his feelings to lago ...
... phrases which are all part of the whole thought , and it would be possible to speak them naturalistically making sense of each phrase , and break the speech up accordingly . In this way Othello would be explaining his feelings to lago ...
Стр. 34
... phrases , on finding out how verbal comedy works , and often on a literary enjoyment of language . It is not ordinary , and it is conscious ; it is in a sort of way public . This applies mostly to comedy , though there are serious plays ...
... phrases , on finding out how verbal comedy works , and often on a literary enjoyment of language . It is not ordinary , and it is conscious ; it is in a sort of way public . This applies mostly to comedy , though there are serious plays ...
Стр. 82
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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