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. 25
... feel that there is something wrong with our psyche if we are tense , and this in itself creates anxiety . It is also important to realize that there are times in one's life when one is tense , and you have to live through it . This is ...
... feel that there is something wrong with our psyche if we are tense , and this in itself creates anxiety . It is also important to realize that there are times in one's life when one is tense , and you have to live through it . This is ...
Стр. 29
... feel their essential impulse , the need to speak them . It puts a kind of remove between himself and the words . So when we do exercises for muscularity ( or articulation ) it is this awareness we are preparing for : the perception of ...
... feel their essential impulse , the need to speak them . It puts a kind of remove between himself and the words . So when we do exercises for muscularity ( or articulation ) it is this awareness we are preparing for : the perception of ...
Стр. 32
... feel comfortable with it . This can be true of those with a good deal of acting experience , as well as those just ... feeling that poetic writing is in some way less than real for one thing there are an awful lot of words ! - and it is ...
... feel comfortable with it . This can be true of those with a good deal of acting experience , as well as those just ... feeling that poetic writing is in some way less than real for one thing there are an awful lot of words ! - and it is ...
Стр. 33
... feel a serious betrayal of one's background to use a formal speech of a different class , not because you cannot do it , but because it does not seem fitting to one's own outlook and this is a political point . Perhaps it feels over ...
... feel a serious betrayal of one's background to use a formal speech of a different class , not because you cannot do it , but because it does not seem fitting to one's own outlook and this is a political point . Perhaps it feels over ...
Стр. 35
... feel : they are an essential part of their expression . They are therefore not poetic elaboration , not there for an effect . They are necessary , and part of the vigour of the language . Let us look at some other examples . This first ...
... feel : they are an essential part of their expression . They are therefore not poetic elaboration , not there for an effect . They are necessary , and part of the vigour of the language . Let us look at some other examples . This first ...
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