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. 24
... movements , but simply an awareness that the words are them- selves a movement and this is quite subtle . It would seem more appropriate to express large emotions through dance and song than through the words and inflections that we use ...
... movements , but simply an awareness that the words are them- selves a movement and this is quite subtle . It would seem more appropriate to express large emotions through dance and song than through the words and inflections that we use ...
Стр. 25
... movement contains our feeling . And this kind of response demands our whole attention : we have to be physically as well as imaginitively prepared . So I want to clarify our attitude to the work in three areas . ( a ) Relaxation ...
... movement contains our feeling . And this kind of response demands our whole attention : we have to be physically as well as imaginitively prepared . So I want to clarify our attitude to the work in three areas . ( a ) Relaxation ...
Стр. 27
... movement and passion of the character . He is thus not merely describing his feelings to Iago : he is discovering them and releasing them for himself . And it is breath that enables their release . Now obviously this is an extreme ...
... movement and passion of the character . He is thus not merely describing his feelings to Iago : he is discovering them and releasing them for himself . And it is breath that enables their release . Now obviously this is an extreme ...
Стр. 28
... 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 Lear , Act IV , Scene 4. The scene comes roughly three - quarters of the way through the ...
... 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 Lear , Act IV , Scene 4. The scene comes roughly three - quarters of the way through the ...
Стр. 29
... movement ; and also from the variable times the consonants need to fulfil their vibrations . For example , the vowels are short in the words ' alack ' and ' hemlock ' , long in ' sea ' and ' weeds ' , and even longer , because they are ...
... movement ; and also from the variable times the consonants need to fulfil their vibrations . For example , the vowels are short in the words ' alack ' and ' hemlock ' , long in ' sea ' and ' weeds ' , and even longer , because they are ...
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