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
... character we need to open ourselves to all the possibilities of the language , and this has to reach an audience not just by being loud enough , but by being filled with purpose . The making of the words themselves has to be perceived ...
... character we need to open ourselves to all the possibilities of the language , and this has to reach an audience not just by being loud enough , but by being filled with purpose . The making of the words themselves has to be perceived ...
Стр. 23
... character will find a poetic and romantic line , and the thoughts will more often than not become generalized . He presses out the mood , and we are then not put in touch with how the character thinks how he ticks which is in fact what ...
... character will find a poetic and romantic line , and the thoughts will more often than not become generalized . He presses out the mood , and we are then not put in touch with how the character thinks how he ticks which is in fact what ...
Стр. 24
... character and character relationships , of relating to the narrative and style of each particular production ; they have to keep alive to different ways of working and the problems that different spaces may bring . Most actors , for ...
... character and character relationships , of relating to the narrative and style of each particular production ; they have to keep alive to different ways of working and the problems that different spaces may bring . Most actors , for ...
Стр. 26
... character breathes is how the character thinks . The breath must encompass the thought , no more or less is needed : that is the precise energy of the thought . If we think of breath in this way , and providing our capacity is good , we ...
... character breathes is how the character thinks . The breath must encompass the thought , no more or less is needed : that is the precise energy of the thought . If we think of breath in this way , and providing our capacity is good , we ...
Стр. 27
... character . He is thus not merely describing his feelings to Iago : he is discovering them and releasing them for himself . And it is breath that enables their release . Now obviously this is an extreme example , for you would not be ...
... character . He is thus not merely describing his feelings to Iago : he is discovering them and releasing them for himself . And it is breath that enables their release . Now obviously this is an extreme example , for you would not be ...
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