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. |
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Výsledky 1-3 z 33
Strana 78
... piece of action . They need care because they provide a formal ending to what may have been a free and naturalistic piece of writing ; so again it is to do with style . They are a gesture in verbal terms , rather like a music - hall ...
... piece of action . They need care because they provide a formal ending to what may have been a free and naturalistic piece of writing ; so again it is to do with style . They are a gesture in verbal terms , rather like a music - hall ...
Strana 148
... piece of text as in ( v ) . Decide what piece of text you are going to do , then work through it spreading your arms first on the last word in each line , then on , say , one word per line . Be precise about the shape you make with your ...
... piece of text as in ( v ) . Decide what piece of text you are going to do , then work through it spreading your arms first on the last word in each line , then on , say , one word per line . Be precise about the shape you make with your ...
Strana 255
... pieces : one Chorus from the second of Bond's War Plays , The Tin Can People ; and a short piece from Sus by Barrie Keeffe . It seems to me very important that we look for the formal in modern writing , because in our own familiar ...
... pieces : one Chorus from the second of Bond's War Plays , The Tin Can People ; and a short piece from Sus by Barrie Keeffe . It seems to me very important that we look for the formal in modern writing , because in our own familiar ...
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 |