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
... sense of relief , but not only that , I think we feel physically different ; there is almost a chemical change , and we say we have ' got something off our chest ' . The point being that the words have been the instrument of change ...
... sense of relief , but not only that , I think we feel physically different ; there is almost a chemical change , and we say we have ' got something off our chest ' . The point being that the words have been the instrument of change ...
Стр. 22
... sense clump - and we make a judgement on them from a cultural and sense point of view , so that our initial response to them is a ' read ' one and not an intuitive one . I think this puts a subtle pressure on us to make ' good sense ...
... sense clump - and we make a judgement on them from a cultural and sense point of view , so that our initial response to them is a ' read ' one and not an intuitive one . I think this puts a subtle pressure on us to make ' good sense ...
Стр. 24
... sense of freedom with the text that he is really after . For perhaps we work vocally at too conscious a level , and we must look to see how exercises can feed us in a deeper way than we are accustomed . Exercises should make us ready ...
... sense of freedom with the text that he is really after . For perhaps we work vocally at too conscious a level , and we must look to see how exercises can feed us in a deeper way than we are accustomed . Exercises should make us ready ...
Стр. 25
... sense literal sense - and so we put a strait - jacket on the language , for we do not 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 ...
... sense literal sense - and so we put a strait - jacket on the language , for we do not 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 ...
Стр. 27
... sense of each phrase , and break the speech up accordingly . In this way Othello would be explaining his feelings to lago . However when we look further , we see that the structure and rhythm of the passage is totally related to the ...
... sense of each phrase , and break the speech up accordingly . In this way Othello would be explaining his feelings to lago . However when we look further , we see that the structure and rhythm of the passage is totally related to the ...
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