The Actor and the TextVirgin, 1992 - Počet stran: 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. |
Vyhledávání v knize
Výsledky 1-3 z 37
Strana 14
... audience . He wants it to be accurate to his intention and to sound unforced . He wants to know that he is carrying the listener with him for , in the end , it is the voice which sets up the main bond between him and his audience ...
... audience . He wants it to be accurate to his intention and to sound unforced . He wants to know that he is carrying the listener with him for , in the end , it is the voice which sets up the main bond between him and his audience ...
Strana 47
... audiences pick up on , and which is not far removed from our pleasure in nursery rhymes . And , most important , we should not explain this reduces it , and the audience has too many signals to pick up . - So the thought and feeling ...
... audiences pick up on , and which is not far removed from our pleasure in nursery rhymes . And , most important , we should not explain this reduces it , and the audience has too many signals to pick up . - So the thought and feeling ...
Strana 53
... audience must have been so attuned to this pulse that they would have picked up immediately on the dramatic nature of the writing by the way the beat was behaving . The quality of their listening must have been different : more focused ...
... audience must have been so attuned to this pulse that they would have picked up immediately on the dramatic nature of the writing by the way the beat was behaving . The quality of their listening must have been different : more focused ...
Obsah
by Trevor Nunn | 8 |
Structures Energy Imagery and Sound | 14 |
Shakespeare | 40 |
Autorská práva | |
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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
Odkazy na tuto knihu
A Companion to Shakespeare and Performance Barbara Hodgdon,W. B. Worthen Náhled není k dispozici. - 2007 |