The Actor and the TextVirgin, 1992 - Всего страниц: 303 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. Building on the specific exercises covered in her first book, Voice and the Actor, Cicely Berry relates the practicality of voice production to the challenges of a different text. And by getting inside the words we use - whether those of Shakespeare or our contemporaries - she shows how to release their energy and excitement for an audience. |
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Стр. 47
... character exists from what is spoken . In all of them there is a specific choice of vocabulary , and we cannot ... character , but what he feels and what he says do not necessarily coincide , and we understand him by what he chooses not ...
... character exists from what is spoken . In all of them there is a specific choice of vocabulary , and we cannot ... character , but what he feels and what he says do not necessarily coincide , and we understand him by what he chooses not ...
Стр. 114
... characters live where they find their images . Images are very often extravagant , and we have to find our way in . The images are never just descriptive , they always arise out of a need within the character : we have to observe the ...
... characters live where they find their images . Images are very often extravagant , and we have to find our way in . The images are never just descriptive , they always arise out of a need within the character : we have to observe the ...
Стр. 194
... character or characters not speaking repeat roughly one word per line that is being spoken . You will always hear something fresh — ladders of thought and word games will emerge very clearly . ( ii ) This exercise can be done sitting ...
... character or characters not speaking repeat roughly one word per line that is being spoken . You will always hear something fresh — ladders of thought and word games will emerge very clearly . ( ii ) This exercise can be done sitting ...
Содержание
by Trevor Nunn | 8 |
Structures Energy Imagery and Sound | 14 |
Shakespeare | 40 |
Авторские права | |
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actor antithesis Antony Antony and Cleopatra audience aware Barnardo become beginning breath Caesar caesura character consonants Coriolanus Cressida 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 Lear language 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 Richard II Romeo and Juliet Rosalind round scene sense Shakespeare sing soliloquy sonnet sound space speak the text speech stress style syllables talking texture thee Theseus thing thou Troilus Troilus and Cressida verse voice vowels weight whole Winter's Tale words writing
Ссылки на эту книгу
Script Analysis for Actors, Directors, and Designers James Michael Thomas Ограниченный просмотр - 2005 |
A Companion to Shakespeare and Performance Barbara Hodgdon,W. B. Worthen Недоступно для просмотра - 2007 |