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. |
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Página 115
... emotion accordingly . We go for its emotional size at the expense of accuracy of thought we have already said something of this in terms of the discipline of the image - and because it is poetry , we go for a poetic quality . Or , - 2 ...
... emotion accordingly . We go for its emotional size at the expense of accuracy of thought we have already said something of this in terms of the discipline of the image - and because it is poetry , we go for a poetic quality . Or , - 2 ...
Página 205
... emotional ring , but then something like Mistress Quickly's description of Fal- staff's death has tremendous emotional resonance- or even Bottom's dream . But I suppose in terms of feeling , it is always just a bit more accessible to ...
... emotional ring , but then something like Mistress Quickly's description of Fal- staff's death has tremendous emotional resonance- or even Bottom's dream . But I suppose in terms of feeling , it is always just a bit more accessible to ...
Página 213
... emotional weight and colour , to stress how each phrase has its own music , and its own space and time whether the content is practical and informative , or emotional and descriptive . The music of the phrasing must be observed . And ...
... emotional weight and colour , to stress how each phrase has its own music , and its own space and time whether the content is practical and informative , or emotional and descriptive . The music of the phrasing must be observed . And ...
Índice
by Trevor Nunn 789 | 9 |
Heightened versus Naturalistic Text | 32 |
Shakespeare Setting out the Rules | 52 |
Direitos de autor | |
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Palavras e frases frequentes
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 particularly passage patterns perhaps person phrase physical piece of text play poetic possible reason 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 thought structure Troilus Troilus and Cressida verse voice vowels weight whole Winter's Tale words writing
Referências a este livro
Script Analysis for Actors, Directors, and Designers James Michael Thomas Pré-visualização limitada - 2005 |
A Companion to Shakespeare and Performance Barbara Hodgdon,W. B. Worthen Pré-visualização indisponível - 2007 |