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. 6
... Style Chapter Nine: Further Points of Text l Prose 2 Heightcned music 3 Scene structures 4 Recap on speech structures 5 Sonnets Chapter Ten: Relating to Other Texts l Jacobean text 2 Restoration text 3 Formal modern text 4 Modern text ...
... Style Chapter Nine: Further Points of Text l Prose 2 Heightcned music 3 Scene structures 4 Recap on speech structures 5 Sonnets Chapter Ten: Relating to Other Texts l Jacobean text 2 Restoration text 3 Formal modern text 4 Modern text ...
Стр. 9
... style of the writing, the actor has to find the right energy for that particular text; if his energy becomes too inward and controlled the words become dull; if he presses too much energy out the words will be unfocused and the thought ...
... style of the writing, the actor has to find the right energy for that particular text; if his energy becomes too inward and controlled the words become dull; if he presses too much energy out the words will be unfocused and the thought ...
Стр. 15
... style of speaking perhaps. 1 ATTITUDES T0 VOICE First, 1 want to look at the factors which hold us back from making the text as rich and alive as possible. This may seem negative, but 1 think there are certain attitudes and ways of ...
... style of speaking perhaps. 1 ATTITUDES T0 VOICE First, 1 want to look at the factors which hold us back from making the text as rich and alive as possible. This may seem negative, but 1 think there are certain attitudes and ways of ...
Стр. 18
... styles of production ask for different kinds of concentration. But, whatever the style, and however naturalistic, language is always a positive choice. and as such it is special, and must create interest in the bearer. Perhaps what we ...
... styles of production ask for different kinds of concentration. But, whatever the style, and however naturalistic, language is always a positive choice. and as such it is special, and must create interest in the bearer. Perhaps what we ...
Стр. 24
... style of each particular production; they have to keep alive to different ways of working and the problems that different spaces may bring. Most actors, for instance, keep up some form of basic movement work. All actors, l think ...
... style of each particular production; they have to keep alive to different ways of working and the problems that different spaces may bring. Most actors, for instance, keep up some form of basic movement work. All actors, l think ...
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