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. 11
... speech is often a huge step to take . And it is important always to remember the subjective nature of the voice , for it helps us to work through the limitations we make for ourselves . In Voice and the Actor I have covered the general ...
... speech is often a huge step to take . And it is important always to remember the subjective nature of the voice , for it helps us to work through the limitations we make for ourselves . In Voice and the Actor I have covered the general ...
Стр. 17
... speech , either in rehearsal or in performance , feels he has said something both about himself and about his work which cannot be retracted . This is part of the pressure an actor has to deal with and which is not fully understood by ...
... speech , either in rehearsal or in performance , feels he has said something both about himself and about his work which cannot be retracted . This is part of the pressure an actor has to deal with and which is not fully understood by ...
Стр. 18
... speech is a balance we resist , for it is tied up with our own taste and our wish not to be crude . However , what is important is that the energy of the thought and the word coincide . Obviously this is partly to do with how we use our ...
... speech is a balance we resist , for it is tied up with our own taste and our wish not to be crude . However , what is important is that the energy of the thought and the word coincide . Obviously this is partly to do with how we use our ...
Стр. 26
... speech breathes . The lines come from Act III , Scene 3 , near the end of the central scene between Othello and Iago , during which Iago has worked so successfully on Othello's hidden doubts and jealousy that Othello believes Desdemona ...
... speech breathes . The lines come from Act III , Scene 3 , near the end of the central scene between Othello and Iago , during which Iago has worked so successfully on Othello's hidden doubts and jealousy that Othello believes Desdemona ...
Стр. 27
... speech from Antony and Cleopatra , and for the pragmatic philosophy of Ulysses in Troilus and Cressida . It works for long speeches in Shaw , in Rudkin and in Bond . The breath needed in this passage is deep and needs preparation as ...
... speech from Antony and Cleopatra , and for the pragmatic philosophy of Ulysses in Troilus and Cressida . It works for long speeches in Shaw , in Rudkin and in Bond . The breath needed in this passage is deep and needs preparation as ...
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