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. 11
... possible , and then presenting that response to an audience . It is about how to use the freedom we get in exercises when we are being real in speech . It is about making the language organic , so that the words act as the spur to the ...
... possible , and then presenting that response to an audience . It is about how to use the freedom we get in exercises when we are being real in speech . It is about making the language organic , so that the words act as the spur to the ...
Стр. 15
... possible . This may seem negative , but I think there are certain attitudes and ways of working by which we are conditioned , which take our attention away from the right verbal focus , and I think by simply stating them it will help us ...
... possible . This may seem negative , but I think there are certain attitudes and ways of working by which we are conditioned , which take our attention away from the right verbal focus , and I think by simply stating them it will help us ...
Стр. 20
... possible to look back upon the event after a time without seemingly feeling upset . However , were we to tell someone about it , the act of putting the feeling into words finding the words associated with the feeling and being precise ...
... possible to look back upon the event after a time without seemingly feeling upset . However , were we to tell someone about it , the act of putting the feeling into words finding the words associated with the feeling and being precise ...
Стр. 23
... possible , and holds back from them in rehearsal as if distrusting them . This way , it is much more difficult for him to find a true release of thought through them , for he is denying something of the nature of the thought . And ...
... possible , and holds back from them in rehearsal as if distrusting them . This way , it is much more difficult for him to find a true release of thought through them , for he is denying something of the nature of the thought . And ...
Стр. 27
... 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 . However when we look further , we see that the structure and ...
... 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 . However when we look further , we see that the structure and ...
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