The Actor And The TextCicely 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. 6
Chapter Seven: Metre and Energy 1 Metre 2 Energy through the text 3 Subversion — or making language your own Chapter Eight: Acting, Text and Style Chapter Nine: Further Points of Text l Prose 2 Heightcned music 3 Scene structures 4 ...
Chapter Seven: Metre and Energy 1 Metre 2 Energy through the text 3 Subversion — or making language your own Chapter Eight: Acting, Text and Style Chapter Nine: Further Points of Text l Prose 2 Heightcned music 3 Scene structures 4 ...
Стр. 26
The lines come from Act II], Scene 3, near the end of the central scene between Othello and Iago, during which Iago has worked so successfully on Othello's hidden doubts and jealousy that Othello believes Desdemona to have been ...
The lines come from Act II], Scene 3, near the end of the central scene between Othello and Iago, during which Iago has worked so successfully on Othello's hidden doubts and jealousy that Othello believes Desdemona to have been ...
Стр. 28
To see what l mean, let us look at the following lines of Cordelia: King Lear, Act IV, Scene 4. The scene comes roughly thrcequarters of the way through the play, after Lear has been rejected by his two eldest daughters, ...
To see what l mean, let us look at the following lines of Cordelia: King Lear, Act IV, Scene 4. The scene comes roughly thrcequarters of the way through the play, after Lear has been rejected by his two eldest daughters, ...
Стр. 35
This first is again from Othello, and is to do with choice of vocabulary. ln Act Ill, Scene 3, lago, dropping the seeds of suspicion into Othello's consciousness, says: Iago: Good name in man or woman, dear my lord, is the immediate ...
This first is again from Othello, and is to do with choice of vocabulary. ln Act Ill, Scene 3, lago, dropping the seeds of suspicion into Othello's consciousness, says: Iago: Good name in man or woman, dear my lord, is the immediate ...
Стр. 36
Next, from The Tempest, is to do with an atavistic response to words, Act III, Scene 2. Caliban: Be not afeard; the isle is full of noises, Sounds, and sweet airs, that give delight and hurt not. Sometimes a thousand twangling ...
Next, from The Tempest, is to do with an atavistic response to words, Act III, Scene 2. Caliban: Be not afeard; the isle is full of noises, Sounds, and sweet airs, that give delight and hurt not. Sometimes a thousand twangling ...
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Пользовательский отзыв - DeborahJ2016 - LibraryThingA guide to exploring the written and spoken styles of theatre and language and how to approach them as a performer. Includes warm-up exercises and rehearsal techniques. Читать весь отзыв
LibraryThing Review
Пользовательский отзыв - Roger_Scoppie - LibraryThingThis is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional ... Читать весь отзыв
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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Часто встречающиеся слова и выражения
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
Библиографические данные
| Название | The Actor And The Text |
| Автор | Cicely Berry |
| Издание: | исправленное |
| Издатель | Random House, 2012 |
| ISBN | 0753547341, 9780753547342 |
| Количество страниц | Всего страниц: 304 |
| Экспорт цитаты | BiBTeX EndNote RefMan |