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 95
... passage shows how the building of an antithesis over a number of lines can make the reverse side stronger and more poignant when we get to it . So , as actors , we have to be ready for the possibility of the opposites all the time , for ...
... passage shows how the building of an antithesis over a number of lines can make the reverse side stronger and more poignant when we get to it . So , as actors , we have to be ready for the possibility of the opposites all the time , for ...
Página 152
... passage well , speak it through , fully compre- hending its sense , but with this difference : Verbalize the vowels only . This is quite difficult to do to start with , but it will soon work . Take care that the vowels are supported ...
... passage well , speak it through , fully compre- hending its sense , but with this difference : Verbalize the vowels only . This is quite difficult to do to start with , but it will soon work . Take care that the vowels are supported ...
Página 214
... passage , and the other examples I am going to give are not necessarily so . However , what the passage does do is make us listen differently for the moment : it makes us attentive in a different way . And I think the very next passage ...
... passage , and the other examples I am going to give are not necessarily so . However , what the passage does do is make us listen differently for the moment : it makes us attentive in a different way . And I think the very next passage ...
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 |