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 27
Strana 34
... dialogue is rooted in everyday speech patterns , and where imagery is more incidental than essential . Now this of course is very loose , and is immediately open to contradiction . For poetic writing is often naturalistic in sound ...
... dialogue is rooted in everyday speech patterns , and where imagery is more incidental than essential . Now this of course is very loose , and is immediately open to contradiction . For poetic writing is often naturalistic in sound ...
Strana 181
... dialogue within the speech , so do the third part of the sequence : kick or move on the last word of the whole thought i.e. , on the semi - colons , full - stops and question marks , or speak it in two groups , so you get a sense of the ...
... dialogue within the speech , so do the third part of the sequence : kick or move on the last word of the whole thought i.e. , on the semi - colons , full - stops and question marks , or speak it in two groups , so you get a sense of the ...
Strana 255
... dialogue ; speaking your own thoughts and then the dialogue . This last is particularly useful as so often the dialogue is only the top layer of the thought . The language often does not flow , and the moments in between speech are as ...
... dialogue ; speaking your own thoughts and then the dialogue . This last is particularly useful as so often the dialogue is only the top layer of the thought . The language often does not flow , and the moments in between speech are as ...
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 |