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 31
Strana 194
... listen more acutely . This exercise can be developed , as we have seen earlier , in this way : The character or ... listening , comment , either through their own words or the words of the text , on what is being said to them as you ...
... listen more acutely . This exercise can be developed , as we have seen earlier , in this way : The character or ... listening , comment , either through their own words or the words of the text , on what is being said to them as you ...
Strana 265
... listen in different parts of the theatre , and get their reactions . Experiment with the volume first , and find what is comfortable to listen to . Then experiment with the pitch , and really be open to the need to lift the new thoughts ...
... listen in different parts of the theatre , and get their reactions . Experiment with the volume first , and find what is comfortable to listen to . Then experiment with the pitch , and really be open to the need to lift the new thoughts ...
Strana 293
... listen ; to listen for the rhythms , the cadence in the writing , the muscularity and energy which is there in every piece of text . We have to honour the intrinsic music without damaging our own truth . People need the music of ...
... listen ; to listen for the rhythms , the cadence in the writing , the muscularity and energy which is there in every piece of text . We have to honour the intrinsic music without damaging our own truth . People need the music of ...
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 |