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. 9
... words become dull ; if he presses too much energy out the words will be unfocused and the thought will be generalized . Either way the result is that the speaking of text or dialogue is too often not as alive or remarkable as the ...
... words become dull ; if he presses too much energy out the words will be unfocused and the thought will be generalized . Either way the result is that the speaking of text or dialogue is too often not as alive or remarkable as the ...
Стр. 11
... words act as the spur to the sound , and so that flexibility and range are found because the words require them . Finally , two general points . I think we tend to use words as if they belong to either our reason or to our emotions , so ...
... words act as the spur to the sound , and so that flexibility and range are found because the words require them . Finally , two general points . I think we tend to use words as if they belong to either our reason or to our emotions , so ...
Стр. 14
... words we speak . Ideally , I suppose , every actor wants to know that his voice is carrying what is in his mind and imagination directly across to the audience . He wants it to be accurate to his intention and to sound unforced . He ...
... words we speak . Ideally , I suppose , every actor wants to know that his voice is carrying what is in his mind and imagination directly across to the audience . He wants it to be accurate to his intention and to sound unforced . He ...
Стр. 17
... words a secondary importance . And this is reinforced by the fact that we hear the sound in our own heads more dominantly than the words , and this is a very important point . It is always interesting , for instance , when you have been ...
... words a secondary importance . And this is reinforced by the fact that we hear the sound in our own heads more dominantly than the words , and this is a very important point . It is always interesting , for instance , when you have been ...
Стр. 18
... words that we will find the possibilities of the sound . I think this over - consciousness of sound dulls our response to words , and somehow lets us off the hook of thinking accurately through them . ( b ) How the actor works This ...
... words that we will find the possibilities of the sound . I think this over - consciousness of sound dulls our response to words , and somehow lets us off the hook of thinking accurately through them . ( b ) How the actor works This ...
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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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