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 80
Strana 37
... rhythm . This strong rhythm , with the combination of the long vowels in the short lines , and the last line with its long repeated monosyllables - which can be taken as a three - beat or a five - beat line - makes us apprehend ...
... rhythm . This strong rhythm , with the combination of the long vowels in the short lines , and the last line with its long repeated monosyllables - which can be taken as a three - beat or a five - beat line - makes us apprehend ...
Strana 52
... rhythm and wonderfully shaped expression ? How do you feel this language knocking around inside you , as it were ... rhythm of the iambic pentameter is very like ordinary speech rhythms , a lot of the time we observe the metre ...
... rhythm and wonderfully shaped expression ? How do you feel this language knocking around inside you , as it were ... rhythm of the iambic pentameter is very like ordinary speech rhythms , a lot of the time we observe the metre ...
Strana 53
... rhythm breaks or jumps in any way it means there is something dramatic happening , either within the action of the play or with the feeling and behaviour of the character . The Elizabethan audience must have been so attuned to this ...
... rhythm breaks or jumps in any way it means there is something dramatic happening , either within the action of the play or with the feeling and behaviour of the character . The Elizabethan audience must have been so attuned to this ...
Obsah
by Trevor Nunn | 8 |
Structures Energy Imagery and Sound | 14 |
Shakespeare | 40 |
Autorská práva | |
Další části 10 nejsou zobrazeny.
Další vydání - Zobrazit všechny
Běžně se vyskytující výrazy a sousloví
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 |