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
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Página 34
... style - this would be empty and false - but we do have to come to terms with a way of presenting dialogue which has as much to do with style and effect as with reality ; and I suppose its style is its reality . It does , however ...
... style - this would be empty and false - but we do have to come to terms with a way of presenting dialogue which has as much to do with style and effect as with reality ; and I suppose its style is its reality . It does , however ...
Página 35
... style , and so of how we speak and how we present that style . To an extent all writing is heightened , for through the style we apprehend part of the meaning : the audience must therefore be able to recognize the style . In being ...
... style , and so of how we speak and how we present that style . To an extent all writing is heightened , for through the style we apprehend part of the meaning : the audience must therefore be able to recognize the style . In being ...
Página 171
... style of any writing is always integral to the meaning , it follows that once you are in tune with the style , you will not need to press out the meaning . Basically of course , there is little more you can do than tap the metre out ...
... style of any writing is always integral to the meaning , it follows that once you are in tune with the style , you will not need to press out the meaning . Basically of course , there is little more you can do than tap the metre out ...
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 |