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 46
Página 25
... kind of response demands our whole attention : we have to be physically as well as imaginitively prepared . So I want to clarify our attitude to the work in three areas . ( a ) Relaxation . Obviously this is of vital importance , for ...
... kind of response demands our whole attention : we have to be physically as well as imaginitively prepared . So I want to clarify our attitude to the work in three areas . ( a ) Relaxation . Obviously this is of vital importance , for ...
Página 43
... kind of language good behaviour which had been the norm in the theatre until then . It made obsolete a kind of upper class , educated stance on language : it was anti - class , wordy , challenging and on the offensive . You could say ...
... kind of language good behaviour which had been the norm in the theatre until then . It made obsolete a kind of upper class , educated stance on language : it was anti - class , wordy , challenging and on the offensive . You could say ...
Página 130
... kind , grow mischievous , And kill him in the shell . Julius Caesar , II.1 . Read this through twice , once for sense only , and the second time moving between points , as we did in an earlier exercise . You can vary it by moving ...
... kind , grow mischievous , And kill him in the shell . Julius Caesar , II.1 . Read this through twice , once for sense only , and the second time moving between points , as we did in an earlier exercise . You can vary it by moving ...
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 |