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. 15
... language . - Therefore we have to work at language as well as voice ; we have to practise it , in a sense , to get more adept at feeling its weight and movement . Just as , in everyday life , how a person uses language ( or does not use ...
... language . - Therefore we have to work at language as well as voice ; we have to practise it , in a sense , to get more adept at feeling its weight and movement . Just as , in everyday life , how a person uses language ( or does not use ...
Стр. 16
... language and use it . It is curiously difficult to work on our own voice both boldly and creatively , because it means we have to let go of our own patterns . Let me explain : given that our voice is our sound presence , and is the ...
... language and use it . It is curiously difficult to work on our own voice both boldly and creatively , because it means we have to let go of our own patterns . Let me explain : given that our voice is our sound presence , and is the ...
Стр. 18
... language , though this could be a necessary and valid stage in our preparation . In Shakespeare the motive of the character and the way the character expresses himself coincide in a positive way . Whereas in a great deal of modern work ...
... language , though this could be a necessary and valid stage in our preparation . In Shakespeare the motive of the character and the way the character expresses himself coincide in a positive way . Whereas in a great deal of modern work ...
Стр. 19
... language and not the discovery of the thought . This does not stop us being able to have a perspective on the language when we wish . I would like to put this another way : in our concern to get the motive right , we sometimes think the ...
... language and not the discovery of the thought . This does not stop us being able to have a perspective on the language when we wish . I would like to put this another way : in our concern to get the motive right , we sometimes think the ...
Стр. 21
... language The fourth point I want to make is partly technical , and is to do with how we present language . It ties up with what I have already said about being ' on ' the words . The cause , however , is different . It is this : because ...
... language The fourth point I want to make is partly technical , and is to do with how we present language . It ties up with what I have already said about being ' on ' the words . The cause , however , is different . It is this : because ...
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