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
Resultados 1-3 de 42
Página 16
... given that our voice is our sound presence , and is the means by which we commit our private world to the world outside , it is tied up with how we think of ourselves — our self - image — and with the image of ourselves we wish to ...
... given that our voice is our sound presence , and is the means by which we commit our private world to the world outside , it is tied up with how we think of ourselves — our self - image — and with the image of ourselves we wish to ...
Página 50
... given room . Yet this presenting must in no way be untrue , external : it is not public in that it is not simply for effect , but there is enjoyment in being articulate - like playing a brilliant game of snooker or tennis ! Even in ...
... given room . Yet this presenting must in no way be untrue , external : it is not public in that it is not simply for effect , but there is enjoyment in being articulate - like playing a brilliant game of snooker or tennis ! Even in ...
Página 56
... given in the space of one . The devoiced consonants ' p ' , ' t ' and ' s ' make it sharp and spitting . The whole line is comfortless . It is awkward to speak . Here the rhythm breaks : ' Doth ' needs stress , and it holds up for a ...
... given in the space of one . The devoiced consonants ' p ' , ' t ' and ' s ' make it sharp and spitting . The whole line is comfortless . It is awkward to speak . Here the rhythm breaks : ' Doth ' needs stress , and it holds up for a ...
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 |