The Actor and the TextVirgin, 1992 - 303 páginas 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. |
Dentro del libro
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Página 58
... break within the line , in most cases after the second or third stressed syllable . Sometimes this break coincides with a full - stop or a colon , and so with a break in thought . But more often , as in the passage we are looking at ...
... break within the line , in most cases after the second or third stressed syllable . Sometimes this break coincides with a full - stop or a colon , and so with a break in thought . But more often , as in the passage we are looking at ...
Página 59
... break comes after ' death ' to allow us to take in the information . The concepts in these two lines are antithetical to each other , yet rhythmically they are steady , and I think this points up the fatal movement towards death which ...
... break comes after ' death ' to allow us to take in the information . The concepts in these two lines are antithetical to each other , yet rhythmically they are steady , and I think this points up the fatal movement towards death which ...
Página 151
... break comes- sometimes you will not do it right , but that does not matter . The valuable thing is that you will hear where that poise in the line comes , and occasionally you will find there are two . You will also hear when the line ...
... break comes- sometimes you will not do it right , but that does not matter . The valuable thing is that you will hear where that poise in the line comes , and occasionally you will find there are two . You will also hear when the line ...
Contenido
by Trevor Nunn 789 | 9 |
Heightened versus Naturalistic Text | 32 |
Shakespeare Setting out the Rules | 52 |
Derechos de autor | |
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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 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 particularly passage patterns perhaps person phrase physical piece of text play poetic possible reason 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 |