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. 5
... Sound and Meaning 1 Attitudes to voice 2 The practical means Chapter Two : Heightened versus Naturalistic Text Part TWO : Shakespeare Setting out the Rules Chapter Three : Metre and Rhythm Chapter Four : Structures , Energy , Imagery ...
... Sound and Meaning 1 Attitudes to voice 2 The practical means Chapter Two : Heightened versus Naturalistic Text Part TWO : Shakespeare Setting out the Rules Chapter Three : Metre and Rhythm Chapter Four : Structures , Energy , Imagery ...
Стр. 11
... sound and the accuracy with which we hear it ( our ear ) , and this is also involved with our aesthetic pleasure in sound and consequent judgement of it ; c ) our individual physical make - up and agility , and our natural power ; and d ...
... sound and the accuracy with which we hear it ( our ear ) , and this is also involved with our aesthetic pleasure in sound and consequent judgement of it ; c ) our individual physical make - up and agility , and our natural power ; and d ...
Стр. 14
Cicely Berry. Chapter 1 SOUND AND MEANING In this chapter I want to focus on two things : 1 The attitudes we have to our own voice : how we think of our own sound , and how this affects our work as an actor . And then : 2 The practical ...
Cicely Berry. Chapter 1 SOUND AND MEANING In this chapter I want to focus on two things : 1 The attitudes we have to our own voice : how we think of our own sound , and how this affects our work as an actor . And then : 2 The practical ...
Стр. 15
... sound To a large extent I think we are trapped in our own sound and sound pattern . This is because our voice has evolved with us , and is therefore a complex mix of background , physical make - up and personality , and the interactions ...
... sound To a large extent I think we are trapped in our own sound and sound pattern . This is because our voice has evolved with us , and is therefore a complex mix of background , physical make - up and personality , and the interactions ...
Стр. 16
... sound presence , and is the means by which we commit our private world to the world outside , it is tied up with how ... sound than we realize , and that sound is strongly bound to our emotional state , and to our self - esteem ...
... sound presence , and is the means by which we commit our private world to the world outside , it is tied up with how ... sound than we realize , and that sound is strongly bound to our emotional state , and to our self - esteem ...
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