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
... physical seat and vibration , its associations , its weight and texture and colour . More than a teacher , she is a director , an analyst , a critic , a sociologist and above all , a restless and dissatisfied enquirer . Her work demands ...
... physical seat and vibration , its associations , its weight and texture and colour . More than a teacher , she is a director , an analyst , a critic , a sociologist and above all , a restless and dissatisfied enquirer . Her work demands ...
Стр. 9
... 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 . The main ...
... 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 . The main ...
Стр. 11
... physical make - up and our experience . That is to say , how we use our voice is conditioned by a ) our environment and our attitude to that ; b ) our perception of sound and the accuracy with which we hear it ( our ear ) , and this is ...
... physical make - up and our experience . That is to say , how we use our voice is conditioned by a ) our environment and our attitude to that ; b ) our perception of sound and the accuracy with which we hear it ( our ear ) , and this is ...
Стр. 15
... 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 statement with our voice . This statement 15 SOUND AND MEANING.
... 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 statement with our voice . This statement 15 SOUND AND MEANING.
Стр. 19
... physical nature , and think of them mainly in terms of expressing reasons and ideas and of colouring them with feelings , and not in terms of our physical self being expressed through them and involved in them . For language , as well ...
... physical nature , and think of them mainly in terms of expressing reasons and ideas and of colouring them with feelings , and not in terms of our physical self being expressed through them and involved in them . For language , as well ...
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