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 1 Energy through the text 2 Antithesis 3 Substance of the word 4 Discovery and movement of thought 5 Nature of ... Sounds: vowels and consonants 2 Hearing the language: substance of text 3 language fabric 1 S 24 32 52 82 82 95 I04 ...
... Sound 1 Energy through the text 2 Antithesis 3 Substance of the word 4 Discovery and movement of thought 5 Nature of ... Sounds: vowels and consonants 2 Hearing the language: substance of text 3 language fabric 1 S 24 32 52 82 82 95 I04 ...
Стр. 11
... sound and the accuracy with which we hear it (our car), 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) our own ...
... sound and the accuracy with which we hear it (our car), 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) our own ...
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 of ...
... 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 of ...
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 selfesteem. Yet, because we ...
... 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 selfesteem. Yet, because we ...
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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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