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. 19
... difficult as it sounds , as we shall see . You must forgive me if I say the same thing in more than one way . As I have said , to talk about voice is always subjective , and each person interprets what is said in a slightly different ...
... difficult as it sounds , as we shall see . You must forgive me if I say the same thing in more than one way . As I have said , to talk about voice is always subjective , and each person interprets what is said in a slightly different ...
Стр. 22
... difficult for us to live through the words as they happen , because we begin to feel out of control of the sense . I know from my experience in working on Shakespeare with groups of schoolchildren - mainly 15 to 18 - year - olds that ...
... difficult for us to live through the words as they happen , because we begin to feel out of control of the sense . I know from my experience in working on Shakespeare with groups of schoolchildren - mainly 15 to 18 - year - olds that ...
Стр. 23
... difficult for him to find a true release of thought through them , for he is denying something of the nature of the thought . And whilst I respect enormously the desire to be truthful , if he holds back in this way he will not find the ...
... difficult for him to find a true release of thought through them , for he is denying something of the nature of the thought . And whilst I respect enormously the desire to be truthful , if he holds back in this way he will not find the ...
Стр. 27
... difficult example , as the need is more apparent and you can see the principal underlying it . It works for the wit of Rosalind , the urgency of a Messenger speech from Antony and Cleopatra , and for the pragmatic philosophy of Ulysses ...
... difficult example , as the need is more apparent and you can see the principal underlying it . It works for the wit of Rosalind , the urgency of a Messenger speech from Antony and Cleopatra , and for the pragmatic philosophy of Ulysses ...
Стр. 29
... difficult is to 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 ...
... difficult is to 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 ...
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