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. |
Dentro del libro
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Página 11
... speech is often a huge step to take . And it is important always to remember the subjective nature of the voice , for it helps us to work through the limitations we make for ourselves . In Voice and the Actor I have covered the general ...
... speech is often a huge step to take . And it is important always to remember the subjective nature of the voice , for it helps us to work through the limitations we make for ourselves . In Voice and the Actor I have covered the general ...
Página 17
... speech , either in rehearsal or in performance , feels he has said something both about himself and about his work which cannot be retracted . This is part of the pressure an actor has to deal with and which is not fully understood by ...
... speech , either in rehearsal or in performance , feels he has said something both about himself and about his work which cannot be retracted . This is part of the pressure an actor has to deal with and which is not fully understood by ...
Página 18
... 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 that the energy of the thought and the word coincide . Obviously this is partly to do with how we use our ...
... 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 that the energy of the thought and the word coincide . Obviously this is partly to do with how we use our ...
Página 26
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Página 27
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Contenido
| 7 | |
| 14 | |
Heightened versus Naturalistic Text | 32 |
Shakespeare Setting out the Rules | 52 |
Structures Energy Imagery and Sound | 82 |
Shakespeare the Practical Means | 140 |
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 Caesar caesura character consonants Coriolanus Delroy dialogue Dingo doth emotional energy exercises feel give Hamlet happens hath hear heightened Hermia Iago iambic pentameter imagery important 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 Sonnet 47 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 Winter's Tale words writing