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 61
Strana 130
... moving between points , as we did in an earlier exercise . You can vary it by moving between chairs , and sitting . However , this time we are thinking in terms of a dialogue going on in the speech , so move only on semi - colons ...
... moving between points , as we did in an earlier exercise . You can vary it by moving between chairs , and sitting . However , this time we are thinking in terms of a dialogue going on in the speech , so move only on semi - colons ...
Strana 181
... moving you on . Finally , find the dialogue within the speech , so do the third part of the sequence : kick or move on the last word of the whole thought structure i.e. , on the semi - colons , full - stops and question marks , or speak ...
... moving you on . Finally , find the dialogue within the speech , so do the third part of the sequence : kick or move on the last word of the whole thought structure i.e. , on the semi - colons , full - stops and question marks , or speak ...
Strana 200
... move freely : all are to do with setting up some kind of resistance . First I want to say that I do believe it to be useful for the whole company to take part in some of the work done on certain of the central scenes of a play , even ...
... move freely : all are to do with setting up some kind of resistance . First I want to say that I do believe it to be useful for the whole company to take part in some of the work done on certain of the central scenes of a play , even ...
Obsah
by Trevor Nunn 789 | 9 |
Heightened versus Naturalistic Text | 32 |
Shakespeare Setting out the Rules | 52 |
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 particularly passage patterns perhaps person phrase physical piece of text play poetic possible reason 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 thought structure 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 |