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. |
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Página 84
... keeping the overall sense in your mind , and find out just how much each word contributes . Among other things you will ... keep our minds on what has been in tune . Line 10 ' unmatch'd ' is the sum of all so far ; ' blown ' has an odd ...
... keeping the overall sense in your mind , and find out just how much each word contributes . Among other things you will ... keep our minds on what has been in tune . Line 10 ' unmatch'd ' is the sum of all so far ; ' blown ' has an odd ...
Página 150
... keep sensitive to each other . It is quite healthy to feel irritated when someone breaks the chain in some way ! At this point I would like to say a circle is quite the best configuration in which to begin exercises . This is nothing ...
... keep sensitive to each other . It is quite healthy to feel irritated when someone breaks the chain in some way ! At this point I would like to say a circle is quite the best configuration in which to begin exercises . This is nothing ...
Página 267
... keep it talking as direct speech . It is excellent for two people to work on together , either taking a verse each , or half a verse , but keeping it moving both rhythmi- cally and musically . Experiment with as much range as possible ...
... keep it talking as direct speech . It is excellent for two people to work on together , either taking a verse each , or half a verse , but keeping it moving both rhythmi- cally and musically . Experiment with as much range as possible ...
Contenido
by Trevor Nunn | 8 |
Structures Energy Imagery and Sound | 14 |
Shakespeare | 40 |
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 ourselves particularly passage patterns perhaps person phrase physical piece of text play poetic possible 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 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 |