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 54
Strana 11
... voice , for it helps us to work through the limitations we make for ourselves . In Voice and the Actor I have covered the general aspects of voice production . However I will be adding to the exercises given there , for since writing it ...
... voice , for it helps us to work through the limitations we make for ourselves . In Voice and the Actor I have covered the general aspects of voice production . However I will be adding to the exercises given there , for since writing it ...
Strana 16
... voice in a quite palpable way , and I think it quite unconsciously forms the way we think about language and use it . -- It is curiously difficult to work on our own voice both boldly and creatively , because it means we have to let go ...
... voice in a quite palpable way , and I think it quite unconsciously forms the way we think about language and use it . -- It is curiously difficult to work on our own voice both boldly and creatively , because it means we have to let go ...
Strana 17
... voice is having . He needs to know his voice both subjectively and objectively at the same time : he needs that third eye , or perhaps ear . Now when we make adjustments to how we speak , the difference we hear inside our heads is often ...
... voice is having . He needs to know his voice both subjectively and objectively at the same time : he needs that third eye , or perhaps ear . Now when we make adjustments to how we speak , the difference we hear inside our heads is often ...
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 |