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
Cicely Berry. Introduction This book is about ways of working on the speaking of text. Much has been written about ... speak. It is as if the energy and excitement that an actor feels when working on a part is not released fttlly when he ...
Cicely Berry. Introduction This book is about ways of working on the speaking of text. Much has been written about ... speak. It is as if the energy and excitement that an actor feels when working on a part is not released fttlly when he ...
Стр. 10
... speak, even when they are rooted in a modern reality. And work on modern text keeps our cars tuned to the colloquial rhythms of everyday speech, which need to be integrated into our speaking of verse. We should be always balancing the ...
... speak, even when they are rooted in a modern reality. And work on modern text keeps our cars tuned to the colloquial rhythms of everyday speech, which need to be integrated into our speaking of verse. We should be always balancing the ...
Стр. 11
... speak or not, what influenced us, etc. — and to break from our habits of speech is often a huge step to take. And it is important always to remember the subiective nature of the voice, for it helps us to work through the limitations we ...
... speak or not, what influenced us, etc. — and to break from our habits of speech is often a huge step to take. And it is important always to remember the subiective nature of the voice, for it helps us to work through the limitations we ...
Стр. 14
... text can make him over-explain, be over-emphatic, or over-charge the speaking with emotion — all qualities which come between him and the direct and simple sharing with his audience. Yet, equally, it is no good saying: let the words speak ...
... text can make him over-explain, be over-emphatic, or over-charge the speaking with emotion — all qualities which come between him and the direct and simple sharing with his audience. Yet, equally, it is no good saying: let the words speak ...
Стр. 17
... speak, the difference we hear inside our heads is often much greater than it sounds to the listener. Small differences seem big. Yet the actor has got to feel true to his sound, for, just as a writer cannot take the words back once they ...
... speak, the difference we hear inside our heads is often much greater than it sounds to the listener. Small differences seem big. Yet the actor has got to feel true to his sound, for, just as a writer cannot take the words back once they ...
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