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
... hear what is happening under its surface . When we are over - concerned with our logical , conscious thought , we simply do not hear what the language is doing ; and here I mean structure not only of the rhythm and phrasing , but the ...
... hear what is happening under its surface . When we are over - concerned with our logical , conscious thought , we simply do not hear what the language is doing ; and here I mean structure not only of the rhythm and phrasing , but the ...
Стр. 27
... hear engage my words . The long sentence from ' Like to the Pontic sea ' to ' Swallow them up ' consists of about six phrases which are all part of the whole thought , and it would be possible to speak them naturalistically making sense ...
... hear engage my words . The long sentence from ' Like to the Pontic sea ' to ' Swallow them up ' consists of about six phrases which are all part of the whole thought , and it would be possible to speak them naturalistically making sense ...
Стр. 30
... hear , but always to feel the room necessary for the vibrations to be complete . All this will help us to find , not just the literal meaning , but the meaning which is transmitted through the very sound of the words . I worked on King ...
... hear , but always to feel the room necessary for the vibrations to be complete . All this will help us to find , not just the literal meaning , but the meaning which is transmitted through the very sound of the words . I worked on King ...
Стр. 31
... hear the words but realize them fully . We have to be continually balancing our need to be truthful with a way of presenting that truth to an audience through the style of the language . None of this is particularly difficult or ...
... hear the words but realize them fully . We have to be continually balancing our need to be truthful with a way of presenting that truth to an audience through the style of the language . None of this is particularly difficult or ...
Стр. 38
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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