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These words of Cicely Berry, the voice director of the Royal
Shakespeare Company, speak to anyone who needs to speak his or her
piece - in any arena, at sales meetings or religious revivals.
Berry's book will insure that the speaker and the text gets heard -
accurately and with true emotional range. Never again will one be
accused of simply "reading a prepared statement." Berry's exercises
to develop relaxation, breathing and muscular control will
literally help everyone breathe easier when confronting the printed
page.
"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
"There is a mystery in every play that is written, no matter
whether classical and poetic or modern and demotic, and it is the
sound and the rhythm of the writing which take us there." Cicely
Berry, the Royal Shakespeare Company's Voice Director, has been
working alongside some of Britain's greatest actors and directors
for over fifty years and is widely regarded as one of the most
significant voice teachers in the world. From Word to Play draws on
Cicely's extensive experience of working with theatre companies in
Britain and throughout the world. It is her manifesto for a return
to the words themselves: for moving away from an
over-conceptualised, over-literal view of language and
rediscovering the meaning in its sounds and rhythms. At the heart
of this book is a concise, practical guide for directors in
rehearsal, setting out work strategies that help bring out both the
shape and the details within all kinds of text - whether verse or
prose, seventeenth-century or contemporary. With a Foreword by
Michael Boyd, Artistic Director of the RSC.
'The Actor & the Text' brings together the elements of
articulation and verbal clarity in a practical way. Building on
specific exercises, it relates the practicality of voice production
to the challenge of a difficult text.
Cicely Berry, Voice Director of the Royal Shakespeare Society is
world famous for her voice teaching. Anxiety about how we speak
prevents many of us from expressing ourselves well. In this classic
handbook, Cicely Berry tackles the reasons for this anxiety and
explains her practical exercises for relaxation and breathing,
clarity of diction and vocal flexibility - everything that you need
to achieve good speech.
Breath in Action looks at the significance of breath to human life
- not just the simple fact that if we stop breathing, we die, but
also the more subtle ways in which our breath interacts with our
voice and our being. Written by experts in vocal and holistic
practice, the book is divided into four sections: Breath and the
Body; Breath and the Mind; Breath and Holistic Practice; Breath and
Performance. It offers the latest theories from a variety of
disciplines on how we can be taught to breathe better so as to
communicate better, act or sing better, feel better, live better.
Combining theory with practice, many of the chapters also offer
clearly laid out breathing exercises and techniques.
Interdisciplinary in its focus, Breath in Action adds to specialist
knowledge in the performance field, whilst also offering
enlightening information for those interested in therapeutic and
healing processes, movement, and voice and speech sciences.
La voz y el actor contiene el mtodo de aprendizaje y produccin
vocal que Cicely Berry utiliza en la mtica Royal Shakespeare
Company; un autntico referente de la formacin vocal para directores
y actores teatrales que desde hace dcadas, aporta ejercicios para
el desarrollo de la relajacin y el control de la respiracin que
permiten optimizar los recursos vocales para actores profesionales
y oradores. La voz y el actor es indispensable para aproximarse al
texto hablado o recitado y dotarlo de verdad y corporeidad
personal.
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