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. 20
... become an active force not for yourself alone . I think in our anxiety to fill the text with our own meaning , we often become too involved with what we are saying for ourselves , and how we are saying it ; we overplay our own feelings ...
... become an active force not for yourself alone . I think in our anxiety to fill the text with our own meaning , we often become too involved with what we are saying for ourselves , and how we are saying it ; we overplay our own feelings ...
Стр. 23
... becomes concerned with getting to the end of what he has to say , with all the meaning that he wants it to contain ... become generalized . He presses out the mood , and we are then not put in touch with how the character thinks how he ...
... becomes concerned with getting to the end of what he has to say , with all the meaning that he wants it to contain ... become generalized . He presses out the mood , and we are then not put in touch with how the character thinks how he ...
Стр. 25
... becomes unnecessary . I suppose what I am really saying is : do not worry about tension work on it but do not worry about it . Find your strength , your breath . ( b ) Breath . We know we need a good supply of breath to give the voice ...
... becomes unnecessary . I suppose what I am really saying is : do not worry about tension work on it but do not worry about it . Find your strength , your breath . ( b ) Breath . We know we need a good supply of breath to give the voice ...
Стр. 26
... becomes active . We also see that how we share the breath is how we share the thought . If we waste the breath , we disperse and generalize the thought ; and , conversely , if we hold on to the breath in some way , we reduce the thought ...
... becomes active . We also see that how we share the breath is how we share the thought . If we waste the breath , we disperse and generalize the thought ; and , conversely , if we hold on to the breath in some way , we reduce the thought ...
Стр. 27
... 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 nature of ...
... 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 nature of ...
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