The Actor and His TextThis book sets out to apply the methods of voice production directly and practically to the speaking of text. Specifically, it addresses the problem of how to infuse life and meaning into words that are first encountered on the printed page. |
From inside the book
Results 1-3 of 28
Page 34
... verse drama , but it is always highly shaped and has its particular cadence . Eliot's verse moves in and out of colloquialisms . Then there is a huge amount of dramatic prose writing , from Restoration comedy to Shaw and Coward , which ...
... verse drama , but it is always highly shaped and has its particular cadence . Eliot's verse moves in and out of colloquialisms . Then there is a huge amount of dramatic prose writing , from Restoration comedy to Shaw and Coward , which ...
Page 81
... verse should sound . It is , quite crudely , a fascist approach . The second way is basically naturalistic , in that ... verse , and we have to be fully aware of the verse beat before we can appreciate the alternative music of the prose ...
... verse should sound . It is , quite crudely , a fascist approach . The second way is basically naturalistic , in that ... verse , and we have to be fully aware of the verse beat before we can appreciate the alternative music of the prose ...
Page 267
... verse each , or half a verse , but keeping it moving both rhythmi- cally and musically . Experiment with as much range as possible . Another great one to work on is his A Valediction : forbidding mourning , in which you get these three ...
... verse each , or half a verse , but keeping it moving both rhythmi- cally and musically . Experiment with as much range as possible . Another great one to work on is his A Valediction : forbidding mourning , in which you get these three ...
Contents
Acknowledgments | 7 |
Attitudes to Voice and Text | 13 |
Shakespeare | 40 |
Copyright | |
8 other sections not shown
Other editions - View all
Common terms and phrases
actor antithesis Antony Antony and Cleopatra audience aware Barnardo beat become beginning breath caesura character consonants Coriolanus Delroy dialogue Dingo doth emotional energy exercises eyes feel give Hamlet happens hath hear heightened helps Hermia Iago iambic pentameter imagery images important Karn keep King King Lear language Lear Leontes listener look Love's Labour's Lost Macbeth meaning mememe metre Midsummer-Night's Dream mind Mogg move movement naturalistic night notice open vowels Othello ourselves particularly passage patterns perhaps person phrase physical piece of text play poetic possible precise reason rehearsal rhyme rhythm Richard II Romeo and Juliet Rosalind round scene sense Shakespeare sing soliloquy sonnet sound space speak the text speech stress syllables talking texture thee Theseus thing thou Troilus Troilus and Cressida verse voice vowels weight Winter's Tale words writing