The Actor And The TextRandom House, 2012 M02 29 - 304 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. |
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... d'ens nords leur mort de l'aise , n'a pas grande foi CICELY BERRY O.B.E. VOICE DIRECTOR OF THE ROYAL SHAKESPEARE COMPANY FOREWORD BY TREVOR NUNN THE ACTOR AND THE TEXT Also by Cicely Berry Voice. THE ACTOR Front Cover.
... d'ens nords leur mort de l'aise , n'a pas grande foi CICELY BERRY O.B.E. VOICE DIRECTOR OF THE ROYAL SHAKESPEARE COMPANY FOREWORD BY TREVOR NUNN THE ACTOR AND THE TEXT Also by Cicely Berry Voice. THE ACTOR Front Cover.
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... Shakespeare Setting out the Rules Chapter Three : Metre and Rhythm Chapter Four : Structures , Energy , Imagery and Sound 1 Energy through the text 2 Antithesis 3 Substance of the word 4 Discovery and movement of thought 7 8 9 14 15 24 ...
... Shakespeare Setting out the Rules Chapter Three : Metre and Rhythm Chapter Four : Structures , Energy , Imagery and Sound 1 Energy through the text 2 Antithesis 3 Substance of the word 4 Discovery and movement of thought 7 8 9 14 15 24 ...
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... Shakespeare quotations from the plays ( with the exception of Titus Andronicus ) , taken from the New Penguin Shakespeare , edited by T.J.B. Spencer ( General Editor ) , and Stanley Wells ( Associate Editor ) . Hodder and Stoughton for ...
... Shakespeare quotations from the plays ( with the exception of Titus Andronicus ) , taken from the New Penguin Shakespeare , edited by T.J.B. Spencer ( General Editor ) , and Stanley Wells ( Associate Editor ) . Hodder and Stoughton for ...
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... Shakespeare is the surest way of learning about text , and for these reasons : because it demands such a complete investment of ourselves in the words ; because it is so rich and extraordinary we are forced to be bold and even ...
... Shakespeare is the surest way of learning about text , and for these reasons : because it demands such a complete investment of ourselves in the words ; because it is so rich and extraordinary we are forced to be bold and even ...
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... Shakespeare , and vice versa . We are always lucky when we have an opportunity to work on both , for it is the interchange between modern and classical writing that enriches both and makes each more alive . Work on Shakespeare opens our ...
... Shakespeare , and vice versa . We are always lucky when we have an opportunity to work on both , for it is the interchange between modern and classical writing that enriches both and makes each more alive . Work on Shakespeare opens our ...
Contenido
Nature of the image its logic and its inquiry into nature | 52 |
Structure of speeches | 128 |
Shakespeare | 139 |
Metre and Energy | 171 |
Acting Text and Style | 189 |
Further Points of Text | 205 |
Relating to Other Texts | 251 |
Voice Work | 260 |
Further Voice Exercises | 274 |
Further Perspectives | 285 |
Index of Quotations | 297 |
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Términos y frases comunes
Act II Scene actor antithesis audience aware Barnardo become beginning breath caesura character consonants Coriolanus 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 King Lear language Lear 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 II Romeo and Juliet Rosalind round sense Shakespeare sing soliloquy Sonnet Sonnet 29 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