Voice and the Actor
| Author | : | |
| Rating | : | 4.90 (789 Votes) |
| Asin | : | 0020415559 |
| Format Type | : | paperback |
| Number of Pages | : | 160 Pages |
| Publish Date | : | 2016-03-24 |
| Language | : | English |
DESCRIPTION:
Links text, technique, and character better than any voice books I have seen. Eric in Boston This book is remarkable for its discussion of technique, its selection of sample texts ranging from Herrick to Shakespeare to Sitwell, and its canny sense of what makes an authentic performance. There is also a sense of how an actors can develop limiting habits and how these habits can be overcome. In sum, every bit of vocal advice is tied to expressing a . Taylor JP said A-ok. Only needed it for a class but I did learn a lot. Good exercises.. Five Stars hari deva Great book for anyone wanting to speak with story and power. Must have theatre students.
She would never try to separate the sound of words from their living context. Cicely Berry sees the voice teacher as involved in all of a theatre's work. Wrong uses of the voice are those that constipate feeling, constrict activity, blunt expression, level out idiosyncrasy, generalize experience, coarsen intimacy. This is a high tribute to work that is the opposite of specialization. For her the two are inseparable. "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. --from Peter Brook's foreword to Voice and the Actor. 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 'instinct of the moment'. So the work is not how to do but how to permit: how, in fact, to set the voice free. 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 actor's voice as it is and as it could be and they will not vanish by themselves. As her book points out with remarkable persuasiveness 'technique' as such is a myth, for there is no such thing as a correct voice. Cicely Berry never departs from the fundamental recognition that speaking is part of a whole:
From the Back Cover "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. There is no right way—there are only a million wrong ways, which are wrong because they deny what would otherwise be affirmed. Cicely Berry sees the voice teacher as involved in all of a theatre's work.