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 32
Página 20
... talking about rhetorical resonances which are rhythmic and of a different and more public kind ; I am talking about the physical response which we have to words which touch our inner thoughts and feelings , where the association of the ...
... talking about rhetorical resonances which are rhythmic and of a different and more public kind ; I am talking about the physical response which we have to words which touch our inner thoughts and feelings , where the association of the ...
Página 213
... talking about the moments in a play when the whole timbre changes for a moment , and we are put in touch with a different sound . They are moments which occur in just about every play ; they sometimes come from the least poetic ...
... talking about the moments in a play when the whole timbre changes for a moment , and we are put in touch with a different sound . They are moments which occur in just about every play ; they sometimes come from the least poetic ...
Página 293
... talking about how the prevalent political situation affects the way you speak . From Bulgaria we heard something of ... talked a good deal about the shifting balance of a declamatory style and how it can fuse with modern sensibilities ...
... talking about how the prevalent political situation affects the way you speak . From Bulgaria we heard something of ... talked a good deal about the shifting balance of a declamatory style and how it can fuse with modern sensibilities ...
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 |