The Actor and the TextVirgin, 1992 - 303 страница 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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Страница 30
... become less active . When working in a large space it takes longer for the consonant vibrations to reach out . The ... becomes active and interesting . Then you can be as swift as you like , as swift as the thought will take you : for it ...
... become less active . When working in a large space it takes longer for the consonant vibrations to reach out . The ... becomes active and interesting . Then you can be as swift as you like , as swift as the thought will take you : for it ...
Страница 87
... become ' — this is an active word : i.e. , it does not merely serve the grammatical meaning ; something has to happen in order that you become a ' kneaded clod ' , and it lifts us into that image . ' the delighted spirit ' : this needs ...
... become ' — this is an active word : i.e. , it does not merely serve the grammatical meaning ; something has to happen in order that you become a ' kneaded clod ' , and it lifts us into that image . ' the delighted spirit ' : this needs ...
Страница 246
... become aware of those changes If you are working on a Shakespeare play , then it is excellent to find a sonnet which corresponds to the emotional quality of your character , and use it as a touchstone to tune into the language and ...
... become aware of those changes If you are working on a Shakespeare play , then it is excellent to find a sonnet which corresponds to the emotional quality of your character , and use it as a touchstone to tune into the language and ...
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by Trevor Nunn | 8 |
Structures Energy Imagery and Sound | 14 |
Shakespeare | 40 |
Ауторска 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