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. 7
... weight and texture and colour. More than a teacher, she is a director. an analyst. a critic. a sociologist and above all. a restless and dissatisfied enquirer. Her work demands. and is given. an unusual amount of trust from campaign ...
... weight and texture and colour. More than a teacher, she is a director. an analyst. a critic. a sociologist and above all. a restless and dissatisfied enquirer. Her work demands. and is given. an unusual amount of trust from campaign ...
Стр. 15
... weight and movement. just as, in everyday life, how a person uses language (or does not use language) is pan of the essence of that person, so the actor has to be ready for the dialogue to take us into the world of the character —— he ...
... weight and movement. just as, in everyday life, how a person uses language (or does not use language) is pan of the essence of that person, so the actor has to be ready for the dialogue to take us into the world of the character —— he ...
Стр. 17
... weight, and length and they take on a new focus and layer of meaning. The crucial thing for us to notice is this: that we frequently get over our intention by loading the sound with meaning, and this overlays and dominates the words ...
... weight, and length and they take on a new focus and layer of meaning. The crucial thing for us to notice is this: that we frequently get over our intention by loading the sound with meaning, and this overlays and dominates the words ...
Стр. 23
... weight and length. The speaking then becomes emphatic, which at once reduces the possibilities within the text by keeping it at a totally logical level. It is literal and allows for no ambiguity. and therefore no richness of texture. In ...
... weight and length. The speaking then becomes emphatic, which at once reduces the possibilities within the text by keeping it at a totally logical level. It is literal and allows for no ambiguity. and therefore no richness of texture. In ...
Стр. 28
... those lines through for yourself out loud, firmly but unhurriedly. Notice the different weight and substance of the words: how light 'hemlock, nettles, cuckoo-flowers' against the more solid 'sustaining corn'; how 28 THE ACTOR AND THE TEXT.
... those lines through for yourself out loud, firmly but unhurriedly. Notice the different weight and substance of the words: how light 'hemlock, nettles, cuckoo-flowers' against the more solid 'sustaining corn'; how 28 THE ACTOR AND THE TEXT.
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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