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. 23
... emotional quality and mood of a 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 ...
... emotional quality and mood of a 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 ...
Стр. 24
... emotions through dance and song than through the words and inflections that we use every day , so we must now look at our attitudes to the practical work that will help us through to this freedom . 2 THE PRACTICAL MEANS I want to look ...
... emotions through dance and song than through the words and inflections that we use every day , so we must now look at our attitudes to the practical work that will help us through to this freedom . 2 THE PRACTICAL MEANS I want to look ...
Стр. 26
... emotional and intellectual intentions on top of the text . We actually think differently because we are open to the thought in this way . And because we have made the thought our own in a quite specific way , we are at liberty to be ...
... emotional and intellectual intentions on top of the text . We actually think differently because we are open to the thought in this way . And because we have made the thought our own in a quite specific way , we are at liberty to be ...
Стр. 33
... emotion , and perhaps an under - stated way of expressing these seem to work against him when speaking heightened or poetic text , where the language is formal and we need to be verbally explicit , and where our feelings and thought ...
... emotion , and perhaps an under - stated way of expressing these seem to work against him when speaking heightened or poetic text , where the language is formal and we need to be verbally explicit , and where our feelings and thought ...
Стр. 35
... activity , which sets the emotional position of the lines . They tell us as much about Iago's inner life where he lives as they do of his manipulation of Othello . He could have used two other 35 HEIGHTENED VERSUS NATURALISTIC TEXT.
... activity , which sets the emotional position of the lines . They tell us as much about Iago's inner life where he lives as they do of his manipulation of Othello . He could have used two other 35 HEIGHTENED VERSUS NATURALISTIC TEXT.
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