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. 17
... sounds to the listener . Small differences seem big . Yet the actor has got to feel true to his sound , for , just as a writer cannot take the words back once they are in print , so an actor , once he has committed himself to speech ...
... sounds to the listener . Small differences seem big . Yet the actor has got to feel true to his sound , for , just as a writer cannot take the words back once they are in print , so an actor , once he has committed himself to speech ...
Стр. 18
... sound for it is the meaning that must always dictate the sound , and not the other way round . It is through the words that we will find the possibilities of the sound . I think this over - consciousness of sound dulls our response to ...
... sound for it is the meaning that must always dictate the sound , and not the other way round . It is through the words that we will find the possibilities of the sound . I think this over - consciousness of sound dulls our response to ...
Стр. 19
... sounds , as we shall see . You must forgive me if I say the same thing in more than one way . As I have said , to talk about voice is always subjective , and each person interprets what is said in a slightly different ... SOUND AND MEANING.
... sounds , as we shall see . You must forgive me if I say the same thing in more than one way . As I have said , to talk about voice is always subjective , and each person interprets what is said in a slightly different ... SOUND AND MEANING.
Стр. 21
... sound energy , the volume , but do not increase the verbal energy to balance with it . Now the energy required to share with a large number of people is only partly to do with volume , but it is all to do with how we fill the words ...
... sound energy , the volume , but do not increase the verbal energy to balance with it . Now the energy required to share with a large number of people is only partly to do with volume , but it is all to do with how we fill the words ...
Стр. 23
... in rehearsal , and it is the choices we make there that we bring into performance . It is difficult to find an extravagance in language , a music which is perhaps beyond our everyday usage , and I think the. 23 SOUND AND MEANING.
... in rehearsal , and it is the choices we make there that we bring into performance . It is difficult to find an extravagance in language , a music which is perhaps beyond our everyday usage , and I think the. 23 SOUND AND MEANING.
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