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. 26
... find this integration of thought and breath , when they are rooted down one with the other , the voice takes on a quite different and surprising energy , and the speaking becomes effortless . For , and this is what is important , we ...
... find this integration of thought and breath , when they are rooted down one with the other , the voice takes on a quite different and surprising energy , and the speaking becomes effortless . For , and this is what is important , we ...
Стр. 27
... find the image of the sea , the current within yourself . And Othello is moved by the current of his own passion . When the breath works for you in this way , it takes the words down to a physical level , deeper than the intellect , and ...
... find the image of the sea , the current within yourself . And Othello is moved by the current of his own passion . When the breath works for you in this way , it takes the words down to a physical level , deeper than the intellect , and ...
Стр. 28
... find the precise energy for that movement . To see what I mean , let us look at the following lines of Cordelia : King Lear , Act IV , Scene 4. The scene comes roughly three - quarters of the way through the play , after Lear has been ...
... find the precise energy for that movement . To see what I mean , let us look at the following lines of Cordelia : King Lear , Act IV , Scene 4. The scene comes roughly three - quarters of the way through the play , after Lear has been ...
Стр. 29
... find all this and swiftness too- for speech must go at the speed of thought , and we must always be slightly ahead of the listener . If we do exercises only for rapidity , the consonants become over - explosive , the vowels clipped and ...
... find all this and swiftness too- for speech must go at the speed of thought , and we must always be slightly ahead of the listener . If we do exercises only for rapidity , the consonants become over - explosive , the vowels clipped and ...
Стр. 30
... find , not just the literal meaning , but the meaning which is transmitted through the very sound of the words . I worked on King Lear in a German translation with a group of actors in Hamburg , and I remember particularly this Cordelia ...
... find , not just the literal meaning , but the meaning which is transmitted through the very sound of the words . I worked on King Lear in a German translation with a group of actors in Hamburg , and I remember particularly this Cordelia ...
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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Часто встречающиеся слова и выражения
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