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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... difficult text ' Jeremy Irons Dans mes jours au Le bonhar m's te plu Mais et l'adversité q El gatos well foue valgsins b at 10 . Comp Tow tone deapena quand on Co De qu A mortalité elle fecon oathe table sien d'ens nords leur mort de l ...
... difficult text ' Jeremy Irons Dans mes jours au Le bonhar m's te plu Mais et l'adversité q El gatos well foue valgsins b at 10 . Comp Tow tone deapena quand on Co De qu A mortalité elle fecon oathe table sien d'ens nords leur mort de l ...
Página 10
... difficult subject to write about - I know from my experience of teaching it that everyone responds to instruction in different ways . Each person recognizes what is happening with his own voice purely subjectively , and although the ...
... difficult subject to write about - I know from my experience of teaching it that everyone responds to instruction in different ways . Each person recognizes what is happening with his own voice purely subjectively , and although the ...
Página 14
... difficult it is to be simple , and to release the words directly and without pressure . Depending on the actor , this tension between himself and the text can make him over - explain , be over - emphatic , or over - charge the speaking ...
... difficult it is to be simple , and to release the words directly and without pressure . Depending on the actor , this tension between himself and the text can make him over - explain , be over - emphatic , or over - charge the speaking ...
Página 16
... difficult to work on our own voice both boldly and creatively , because it means we have to let go of our own patterns . Let me explain : given that our voice is our sound presence , and is the means by which we commit our private world ...
... difficult to work on our own voice both boldly and creatively , because it means we have to let go of our own patterns . Let me explain : given that our voice is our sound presence , and is the means by which we commit our private world ...
Página 18
... difficult is to judge exactly the right energy needed , for somehow , to be that much more positive in speech is a balance we resist , for it is tied up with our own taste and our wish not to be crude . However , what is important is ...
... difficult is to judge exactly the right energy needed , for somehow , to be that much more positive in speech is a balance we resist , for it is tied up with our own taste and our wish not to be crude . However , what is important is ...
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