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Voice and the Actor (Paperback, Reprint)
Loot Price: R282
Discovery Miles 2 820
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Voice and the Actor (Paperback, Reprint)
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List price R308
Loot Price R282
Discovery Miles 2 820
You Save R26 (8%)
Expected to ship within 12 - 17 working days
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"Speaking is part of a whole: an expression of inner life." Cicely
Berry has based her work on the conviction that while all is
present in nature our natural instincts have been crippled from
birth by many processes----by the conditioning, in fact, of a
warped society. So an actor needs precise exercise and clear
understanding to liberate his hidden possibilities and to learn the
hard task of being true to the a instinct of the momenta . As her
book points out with remarkable persuasiveness a techniquea as such
is a myth, for there is no such thing as a correct voice. There is
no right way----there are only a million wrong ways, which are
wrong because they deny what would otherwise be affirmed. Wrong
uses of the voice are those that constipate feeling, constrict
activity, blunt expression, level out idiosyncrasy, generalize
experience, coarsen intimacy. These blockages are multiple and are
the results of acquired habits that have become part of the
automatic vocal equipment; unnoticed and unknown, they stand
between the actora s voice as it is and as it could be and they
will not vanish by themselves. So the work is not how to do but how
to permit: how, in fact, to set the voice free. And since life in
the voice springs from emotion, drab and uninspiring technical
exercises can never be sufficient. Cicely Berry never departs from
the fundamental recognition that speaking is part of a whole: an
expression of inner life. After a voice session with her I have
known actors speak not of the voice but of a growth in human
relationships. This is a high tribute to work that is the opposite
of specialization. Cicely Berry sees the voice teacher as involved
in all of a theatrea s work. She would never try to separate the
sound of words from their living context. For her the two are
inseparable. ----from Peter Brooka s foreword to Voice and the
Actor
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