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. 9
... because, in a very practical 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 ...
... because, in a very practical 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 ...
Стр. 15
Therefore we have to work at language as well as voice; we have to practise it, in a 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 pan of ...
Therefore we have to work at language as well as voice; we have to practise it, in a 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 pan of ...
Стр. 16
Yet, because we hear the sound via the bone conduction in our own heads, and also because we hear it subjectively in the 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 ...
Yet, because we hear the sound via the bone conduction in our own heads, and also because we hear it subjectively in the 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 ...
Стр. 18
for it always has to do with the speaker's commitment to language and a right sense of its importance. You could also say that the actor is not thinking specifically enough and therefore not pointing the phrases adequately, ...
for it always has to do with the speaker's commitment to language and a right sense of its importance. You could also say that the actor is not thinking specifically enough and therefore not pointing the phrases adequately, ...
Стр. 19
... because we do not quite have the courage to live at the moment of speech. We make the language behave, instead of staying free to our basic primitive response to it — primitive in the sense of being less consciously organized ...
... because we do not quite have the courage to live at the moment of speech. We make the language behave, instead of staying free to our basic primitive response to it — primitive in the sense of being less consciously organized ...
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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 |