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
... look for it , and many actors find great benefit from work in the Alexander Technique which teaches a conscious awareness of bodily alignment , and through this a freeing of physical tension in both movement and stillness . But ...
... look for it , and many actors find great benefit from work in the Alexander Technique which teaches a conscious awareness of bodily alignment , and through this a freeing of physical tension in both movement and stillness . But ...
Стр. 26
... look for a moment at the following ten lines of Othello , just at how the speech breathes . The lines come from Act III , Scene 3 , near the end of the central scene between Othello and Iago , during which Iago has worked so ...
... look for a moment at the following ten lines of Othello , just at how the speech breathes . The lines come from Act III , Scene 3 , near the end of the central scene between Othello and Iago , during which Iago has worked so ...
Стр. 27
... look back , ne'er ebb to humble love , Till that a capable and wide revenge Swallow them up . Now , by yond marble heaven , In the due reverence of a sacred vow I hear engage my words . The long sentence from ' Like to the Pontic sea ...
... look back , ne'er ebb to humble love , Till that a capable and wide revenge Swallow them up . Now , by yond marble heaven , In the due reverence of a sacred vow I hear engage my words . The long sentence from ' Like to the Pontic sea ...
Стр. 28
... look at the following lines of Cordelia : King Lear , Act IV , Scene 4. The scene comes roughly three - quarters of the way through the play , after Lear has been rejected by his two eldest daughters , has been exposed to the storm ...
... look at the following lines of Cordelia : King Lear , Act IV , Scene 4. The scene comes roughly three - quarters of the way through the play , after Lear has been rejected by his two eldest daughters , has been exposed to the storm ...
Стр. 35
... look for a moment at the function of poetry : we know it is understood on many levels . It is understood at the logical level of subject matter and argument , but also at the less conscious level of the association of words with both ...
... look for a moment at the function of poetry : we know it is understood on many levels . It is understood at the logical level of subject matter and argument , but also at the less conscious level of the association of words with both ...
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