The Actor and His TextHarrap, 1987 - Počet stran: 285 This book sets out to apply the methods of voice production directly and practically to the speaking of text. Specifically, it addresses the problem of how to infuse life and meaning into words that are first encountered on the printed page. |
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Strana 80
... possible within a line , and therefore how the quality of each play is so different . Even if we do not know the particular play well , the points made will begin to seep into our subconscious , and they will interrelate between the ...
... possible within a line , and therefore how the quality of each play is so different . Even if we do not know the particular play well , the points made will begin to seep into our subconscious , and they will interrelate between the ...
Strana 271
... possible is freed . Gunnar Ekelof ( Trans . Ann Draycon ) This is more complicated to divide up , but it is still possible , and it has a very good feeling of inquiry running through it , which is useful for the actor to feel . The ...
... possible is freed . Gunnar Ekelof ( Trans . Ann Draycon ) This is more complicated to divide up , but it is still possible , and it has a very good feeling of inquiry running through it , which is useful for the actor to feel . The ...
Strana 276
... possible . First , find out how you feel most comfortable , whether with your legs crooked or flat . If you prefer them crooked up , then make sure they are crooked high and steady , with the feet and knees about six inches apart . If ...
... possible . First , find out how you feel most comfortable , whether with your legs crooked or flat . If you prefer them crooked up , then make sure they are crooked high and steady , with the feet and knees about six inches apart . If ...
Obsah
Acknowledgments | 7 |
Attitudes to Voice and Text | 13 |
Shakespeare | 40 |
Autorská práva | |
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actor antithesis Antony Antony and Cleopatra audience aware Barnardo beat become beginning breath caesura character consonants Coriolanus Delroy dialogue Dingo doth emotional energy exercises eyes feel give Hamlet happens hath hear heightened helps Hermia Iago iambic pentameter imagery images important Karn keep King King Lear language Lear Leontes listener look Love's Labour's Lost Macbeth meaning mememe metre Midsummer-Night's Dream mind Mogg move movement naturalistic night notice open vowels Othello ourselves particularly passage patterns perhaps person phrase physical piece of text play poetic possible precise reason rehearsal rhyme rhythm Richard II Romeo and Juliet Rosalind round scene sense Shakespeare sing soliloquy sonnet sound space speak the text speech stress syllables talking texture thee Theseus thing thou Troilus Troilus and Cressida verse voice vowels weight Winter's Tale words writing