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 33
Strana 29
... weight , yet it has but one drive , one motive , one action . Now this weight and substance comes precisely from the different lengths of the vowels , and sometimes their movement ; and also from the variable times the consonants need ...
... weight , yet it has but one drive , one motive , one action . Now this weight and substance comes precisely from the different lengths of the vowels , and sometimes their movement ; and also from the variable times the consonants need ...
Strana 55
... weight as the information is important . The vowel is open - ended without a final consonant so it is more variable . The second syllable of ' households ' is unstressed but holds weight because of the length of the vowel and the ...
... weight as the information is important . The vowel is open - ended without a final consonant so it is more variable . The second syllable of ' households ' is unstressed but holds weight because of the length of the vowel and the ...
Strana 56
... weight , as it is taking us on to a new stage of the story . Again regular , the stress coinciding with the sense and long , open vowels . - However , there is a certain weight on the unstressed ' crossed ' which qualifies the meaning ...
... weight , as it is taking us on to a new stage of the story . Again regular , the stress coinciding with the sense and long , open vowels . - However , there is a certain weight on the unstressed ' crossed ' which qualifies the meaning ...
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 |