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. 11
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 make for ourselves.
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 make for ourselves.
Стр. 17
Yet the actor has got to feel true to his sound, for, just as a writer cannot take the words back once they are in print, so an actor, once he has committed himself to speech, either in rehearsal or in performance, feels he has said ...
Yet the actor has got to feel true to his sound, for, just as a writer cannot take the words back once they are in print, so an actor, once he has committed himself to speech, either in rehearsal or in performance, feels he has said ...
Стр. 18
If. for example, we paraphrase a Shakespeare speech in order to clarify the meaning, we know that we will miss important clues into the character which lie precisely in the choice of language, though this could be a necessary and valid ...
If. for example, we paraphrase a Shakespeare speech in order to clarify the meaning, we know that we will miss important clues into the character which lie precisely in the choice of language, though this could be a necessary and valid ...
Стр. 26
comedy value out of the speech. But I think we have to see more than this when we are working. We have to see the breath not simply as the means by which we make good sound and communicate information; but rather we have to see it as ...
comedy value out of the speech. But I think we have to see more than this when we are working. We have to see the breath not simply as the means by which we make good sound and communicate information; but rather we have to see it as ...
Стр. 27
It works for the wit of Rosalind, the urgency of a Messenger 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.
It works for the wit of Rosalind, the urgency of a Messenger 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.
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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 |