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. 22
... whole physical self in order to release them from the tyranny of the mind. All these points are quite simple, and we know them in our heads, but it is often difficult to get the right perspective on them. For what is always working ...
... whole physical self in order to release them from the tyranny of the mind. All these points are quite simple, and we know them in our heads, but it is often difficult to get the right perspective on them. For what is always working ...
Стр. 25
... whole attention: we have to be physically as well as imaginitively prepared. 80 I want to clarify our attitude to the work in three areas. (a) Relaxation. Obviously this is of vital importance, for, in a sense, relaxation is resonance ...
... whole attention: we have to be physically as well as imaginitively prepared. 80 I want to clarify our attitude to the work in three areas. (a) Relaxation. Obviously this is of vital importance, for, in a sense, relaxation is resonance ...
Стр. 27
... whole thought becomes the current in which he is caught, and the specific words and phrases are like the waves. If we honour each one of these small phrases, yet ride the whole sentence on one breath, we will come close to the elemental ...
... whole thought becomes the current in which he is caught, and the specific words and phrases are like the waves. If we honour each one of these small phrases, yet ride the whole sentence on one breath, we will come close to the elemental ...
Стр. 30
... whole nature changed because of the didactic sound of the German language, and how difficult it was for those German actors to free themselves from the functional meaning of the words in order to find the quality of the thought, and how ...
... whole nature changed because of the didactic sound of the German language, and how difficult it was for those German actors to free themselves from the functional meaning of the words in order to find the quality of the thought, and how ...
Стр. 38
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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
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 |