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. 9
... sense , the connection between the 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 ...
... sense , the connection between the 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 ...
Стр. 15
... sense , to get more adept at feeling its weight and movement . Just as , in everyday life , how a person uses language ( or does not use language ) is part of the essence of that person , so the actor has to be ready for the dialogue to ...
... sense , to get more adept at feeling its weight and movement . Just as , in everyday life , how a person uses language ( or does not use language ) is part of the essence of that person , so the actor has to be ready for the dialogue to ...
Стр. 16
... sense that it is tied up with our perception of our voice and how we would like it to sound , and also to how we feel at the time , we seldom hear it accurately . We obviously never hear it in the way we hear someone else's voice - we ...
... sense that it is tied up with our perception of our voice and how we would like it to sound , and also to how we feel at the time , we seldom hear it accurately . We obviously never hear it in the way we hear someone else's voice - we ...
Стр. 18
... sense of its importance . You could also say that the actor is not thinking specifically enough and therefore not pointing the phrases adequately , but I think that is an easy solution and not necessarily true . I think it is to do with ...
... sense of its importance . You could also say that the actor is not thinking specifically enough and therefore not pointing the phrases adequately , but I think that is an easy solution and not necessarily true . I think it is to do with ...
Стр. 19
... sense of being less consciously organized , and less culturally based . This of course does not mean that we should be uncontrolled ; we must be clear and organized as to the motive and reasoning of the character , but the speaking ...
... sense of being less consciously organized , and less culturally based . This of course does not mean that we should be uncontrolled ; we must be clear and organized as to the motive and reasoning of the character , but the speaking ...
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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Часто встречающиеся слова и выражения
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