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. 10
... words we speak, even when they are rooted in a modern reality. And work on modern text keeps our cars tuned to the colloquial rhythms of everyday speech, which need to be integrated into our speaking of verse. We should be always ...
... words we speak, even when they are rooted in a modern reality. And work on modern text keeps our cars tuned to the colloquial rhythms of everyday speech, which need to be integrated into our speaking of verse. We should be always ...
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 that ...
... 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 that ...
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 wants to ...
... 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 wants to ...
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 ...
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