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. 54
... syllables of the first two words are long and take time to speak , whereas the syllables in the second half of the line are short , and this alters the weight of stress you can put on them . Nor would you give full stress to the final ...
... syllables of the first two words are long and take time to speak , whereas the syllables in the second half of the line are short , and this alters the weight of stress you can put on them . Nor would you give full stress to the final ...
Стр. 65
... syllables , yet you would not give those words that stress — indeed it would be absurd to stress the final syllable ... syllables here carry more weight , and in any case the names would be cared for . There is also the sound pun on ...
... syllables , yet you would not give those words that stress — indeed it would be absurd to stress the final syllable ... syllables here carry more weight , and in any case the names would be cared for . There is also the sound pun on ...
Стр. 99
Cicely Berry. Number of syllables . The number of syllables in a word also affects the time we take . Lines which have two- and three - syllable words have a totally different feel : the syllables tend to be less full and we speak them ...
Cicely Berry. Number of syllables . The number of syllables in a word also affects the time we take . Lines which have two- and three - syllable words have a totally different feel : the syllables tend to be less full and we speak them ...
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 |