The Actor and the TextHal Leonard Corporation, 1992 - 303 páginas (Applause Acting Series). These words of Cicely Berry, the voice director of the Royal Shakespeare Company, speak to anyone who needs to speak his or her piece in any arena, at sales meetings or religious revivals. Berry's book will insure that the speaker and the text gets heard accurately and with true emotional range. Never again will one be accused of simply "reading a prepared statement." Berry's exercises to develop relaxation, breathing and muscular control will literally help everyone breathe easier when confronting the printed page. |
Dentro del libro
Resultados 1-5 de 43
Página 5
... emotion 7 Word games and patterns 8 Structure of speeches 115 121 128 Part THREE : Shakespeare the Practical Means - Chapter Five : Introduction to the Exercises Chapter Six : Substance of the Text 1 Sounds : vowels and consonants 2 ...
... emotion 7 Word games and patterns 8 Structure of speeches 115 121 128 Part THREE : Shakespeare the Practical Means - Chapter Five : Introduction to the Exercises Chapter Six : Substance of the Text 1 Sounds : vowels and consonants 2 ...
Página 11
... emotions , so that we make them either only literal and logical , or alternatively only emotional . We do not use them as our thoughts in action , which are always shifting and changing , and are the result of both thought and feeling ...
... emotions , so that we make them either only literal and logical , or alternatively only emotional . We do not use them as our thoughts in action , which are always shifting and changing , and are the result of both thought and feeling ...
Página 14
... emotion qualities which come between him and the direct and simple sharing with his audience . Yet , equally , it is no good saying : let the words speak for themselves and just rely on the text . This is a platitude which has no ...
... emotion qualities which come between him and the direct and simple sharing with his audience . Yet , equally , it is no good saying : let the words speak for themselves and just rely on the text . This is a platitude which has no ...
Página 16
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Lo sentimos, el contenido de esta página está restringido..
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Contenido
V | 16 |
VI | 17 |
VII | 26 |
VIII | 34 |
X | 53 |
XII | 54 |
XV | 84 |
XVII | 92 |
XXXVI | 180 |
XXXVII | 187 |
XXXVIII | 191 |
XL | 207 |
XLIII | 215 |
XLIV | 222 |
XLV | 231 |
XLVI | 242 |
XVIII | 97 |
XIX | 106 |
XX | 112 |
XXI | 117 |
XXII | 123 |
XXIII | 130 |
XXIV | 141 |
XXVI | 142 |
XXVIII | 145 |
XXXI | 150 |
XXXII | 159 |
XXXIII | 173 |
XLVII | 253 |
XLIX | 255 |
L | 256 |
LI | 257 |
LII | 262 |
LIV | 267 |
LV | 275 |
LVI | 276 |
LIX | 287 |
299 | |
LXI | 303 |
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Términos y frases comunes
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 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 prose 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 thought structure Troilus Troilus and Cressida verse voice vowels weight whole Winter's Tale words writing
Referencias a este libro
Script Analysis for Actors, Directors, and Designers James Michael Thomas Vista previa limitada - 2005 |
A Companion to Shakespeare and Performance Barbara Hodgdon,W. B. Worthen Sin vista previa disponible - 2007 |