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 79
Página 9
... words become dull ; if he presses too much energy out the words will be unfocused and the thought will be generalized . Either way the result is that the speaking of text or dialogue is too often not as alive or remarkable as the ...
... words become dull ; if he presses too much energy out the words will be unfocused and the thought will be generalized . Either way the result is that the speaking of text or dialogue is too often not as alive or remarkable as the ...
Página 10
... words we speak , even when they are rooted in a modern reality . And work on modern text keeps our ears tuned to the colloquial rhythms of everyday speech , which need to be integrated into our speaking of verse . We should be always ...
... words we speak , even when they are rooted in a modern reality . And work on modern text keeps our ears tuned to the colloquial rhythms of everyday speech , which need to be integrated into our speaking of verse . We should be always ...
Página 11
... words act as the spur to the sound , and so that flexibility and range are found because the words require them . Finally , two general points . I think we tend to use words as if they belong to either our reason or to our emotions , so ...
... words act as the spur to the sound , and so that flexibility and range are found because the words require them . Finally , two general points . I think we tend to use words as if they belong to either our reason or to our emotions , so ...
Página 14
... words we speak . Ideally , I suppose , every actor wants to know that his voice is carrying what is in his mind and imagination directly across to the audience . He wants it to be accurate to his intention and to sound unforced . He ...
... words we speak . Ideally , I suppose , every actor wants to know that his voice is carrying what is in his mind and imagination directly across to the audience . He wants it to be accurate to his intention and to sound unforced . He ...
Página 17
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Lo sentimos, el contenido de esta página está restringido..
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 |