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 63
Página 24
... movements , but simply an awareness that the words are them- selves a movement and this is quite subtle . It would seem more appropriate to express large emotions through dance and song than through the words and inflections that we use ...
... movements , but simply an awareness that the words are them- selves a movement and this is quite subtle . It would seem more appropriate to express large emotions through dance and song than through the words and inflections that we use ...
Página 99
... movement quick . - ' mad ' a short vowel , but open , and with a voiced consonant at the end . Further , it has two ' a ' sounds on either side ' as ' and this oddly gives it emphasis . The openness of the vowel opens its possibilities ...
... movement quick . - ' mad ' a short vowel , but open , and with a voiced consonant at the end . Further , it has two ' a ' sounds on either side ' as ' and this oddly gives it emphasis . The openness of the vowel opens its possibilities ...
Página 143
... movement on the diphthongs , and also the different lengths of each sound . Now the tongue vowels , again noticing movement and length : AH u ER a e AY i EE I EAR AIR With each sequence , feel your sound coming to where the movement is ...
... movement on the diphthongs , and also the different lengths of each sound . Now the tongue vowels , again noticing movement and length : AH u ER a e AY i EE I EAR AIR With each sequence , feel your sound coming to where the movement is ...
Contenido
by Trevor Nunn | 8 |
Structures Energy Imagery and Sound | 14 |
Shakespeare | 40 |
Derechos de autor | |
Otras 10 secciones no mostradas
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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 |