The Actor and His TextHarrap, 1987 - Всего страниц: 285 This book sets out to apply the methods of voice production directly and practically to the speaking of text. Specifically, it addresses the problem of how to infuse life and meaning into words that are first encountered on the printed page. |
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Стр. 21
... 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 for a commitment to the work beyond a ...
... 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 for a commitment to the work beyond a ...
Стр. 30
... active . When working in a large space it takes longer for the consonant vibrations to reach out . The answer is never to push them out explosively , for that makes the speech clipped and not easy to hear , but always to feel the room ...
... active . When working in a large space it takes longer for the consonant vibrations to reach out . The answer is never to push them out explosively , for that makes the speech clipped and not easy to hear , but always to feel the room ...
Стр. 86
... active , in that it is measuring up the situation ; ' assassination ' has to be marked , for it is the first time Macbeth has put a name to the deed ; ' catch ' carries such immediacy , pointing up both the chance nature of an act and ...
... active , in that it is measuring up the situation ; ' assassination ' has to be marked , for it is the first time Macbeth has put a name to the deed ; ' catch ' carries such immediacy , pointing up both the chance nature of an act and ...
Содержание
Acknowledgments | 7 |
Attitudes to Voice and Text | 13 |
Shakespeare | 40 |
Авторские права | |
Не показаны другие разделы: 8
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actor antithesis Antony Antony and Cleopatra audience aware Barnardo beat become beginning breath caesura character consonants Coriolanus Delroy dialogue Dingo doth emotional energy exercises eyes feel give Hamlet happens hath hear heightened helps Hermia Iago iambic pentameter imagery images important Karn keep King King Lear language Lear Leontes listener look Love's Labour's Lost Macbeth meaning mememe metre Midsummer-Night's Dream mind Mogg move movement naturalistic night notice open vowels Othello ourselves particularly passage patterns perhaps person phrase physical piece of text play poetic possible precise reason rehearsal rhyme rhythm Richard II Romeo and Juliet Rosalind round scene sense Shakespeare sing soliloquy sonnet sound space speak the text speech stress syllables talking texture thee Theseus thing thou Troilus Troilus and Cressida verse voice vowels weight Winter's Tale words writing