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
... energy is handed from one character to the next , and the words 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 ...
... energy is handed from one character to the next , and the words 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 ...
Стр. 21
... energy level with which we are comfortable . In fact we increase the sound energy , the volume , but do not increase the verbal energy to balance with it . Now the energy required to share with a large number of people is only partly to ...
... energy level with which we are comfortable . In fact we increase the sound energy , the volume , but do not increase the verbal energy to balance with it . Now the energy required to share with a large number of people is only partly to ...
Стр. 25
... energy lies , and that is always with the breath . It is breath that gives us our strength , and when we feel strong tension becomes unnecessary . I suppose what I am really saying is : do not worry about tension work on it but do not ...
... energy lies , and that is always with the breath . It is breath that gives us our strength , and when we feel strong tension becomes unnecessary . I suppose what I am really saying is : do not worry about tension work on it but do not ...
Стр. 26
... energy of the thought . If we think of breath in this way , and providing our capacity is good , we will always have enough . This is , of course , a little simplistic , and we obviously have to work at it as any athlete has to work at ...
... energy of the thought . If we think of breath in this way , and providing our capacity is good , we will always have enough . This is , of course , a little simplistic , and we obviously have to work at it as any athlete has to work at ...
Стр. 28
... energy of the word . The words are the means by which we articulate thought , words are movement , and we have to find the precise energy for that movement . To see what I mean , let us look at the following lines of Cordelia : King ...
... energy of the word . The words are the means by which we articulate thought , words are movement , and we have to find the precise energy for that movement . To see what I mean , let us look at the following lines of Cordelia : King ...
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