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. 20
... physical response which we have to words which touch our inner thoughts and feelings , where the association of the word itself can evoke a response separate from the feeling . - For instance , if there is something in our life about ...
... physical response which we have to words which touch our inner thoughts and feelings , where the association of the word itself can evoke a response separate from the feeling . - For instance , if there is something in our life about ...
Стр. 21
... physical root , and , 2 ) that they are an active force , gives the speaker another dimension . They are also very practical notions to hold on to . But I would make a further point : if we are truly to make the words active , it asks ...
... physical root , and , 2 ) that they are an active force , gives the speaker another dimension . They are also very practical notions to hold on to . But I would make a further point : if we are truly to make the words active , it asks ...
Стр. 22
... physical nature of the words and images , and are more deeply moved by them , than do the more sophisticated and highly educated ' A ' Level students . They get closer to the sense that a character can be possessed by the words , and as ...
... physical nature of the words and images , and are more deeply moved by them , than do the more sophisticated and highly educated ' A ' Level students . They get closer to the sense that a character can be possessed by the words , and as ...
Стр. 24
... physical release : I am not talking about large 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 ...
... physical release : I am not talking about large 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 ...
Стр. 25
... physically as well as imaginitively prepared . So I want to clarify our attitude to the work in three areas . ( a ) ... physical tension in both movement and stillness . But relaxation of itself is not a virtue , for we have to come to ...
... physically as well as imaginitively prepared . So I want to clarify our attitude to the work in three areas . ( a ) ... physical tension in both movement and stillness . But relaxation of itself is not a virtue , for we have to come to ...
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