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. 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. 36
... sound ugly . We are therefore receiving information through choice and sound of words . Next , from The Tempest , is to do with an atavistic response to words , Act III , Scene 2 . Caliban : Be not afeard ; the isle is full of noises , ...
... sound ugly . We are therefore receiving information through choice and sound of words . Next , from The Tempest , is to do with an atavistic response to words , Act III , Scene 2 . Caliban : Be not afeard ; the isle is full of noises , ...
Стр. 280
... sound energy and freedom . Further , it puts us in touch with our deepest feelings . You have exercised the ribs ... sound . The throat should be quite free . Now , to get the very specific feeling of the sound starting in the stomach ...
... sound energy and freedom . Further , it puts us in touch with our deepest feelings . You have exercised the ribs ... sound . The throat should be quite free . Now , to get the very specific feeling of the sound starting in the stomach ...
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