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 the right focus — the right balance between words and sound -- for it is the meaning that must always dictate the ...
... phrases adequately, but I think that is an easy solution and not necessarily true. I think it is to do with not having the right focus — the right balance between words and sound -- for it is the meaning that must always dictate the ...
Стр. 26
... phrase for no other reason than that we are afraid we will not have enough. 1 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. 1 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 Iago ...
... 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 Iago ...
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
| 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