Voice into acting : integrating voice and the Stanislavski approach
著者
書誌事項
Voice into acting : integrating voice and the Stanislavski approach
（Methuen drama）
Bloomsbury, 2014
- : [pb.]
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注記
Includes bibliographical references (p. [364]-366) and index
内容説明・目次
内容説明
How can actors bridge the gap between themselves and the text and action of a script, integrating fully their learned vocal skills? How do we make an imaginary world real, create the life of a role, and fully embody it vocally and physically so that voice and acting become one?
Christina Gutekunst and John Gillett unite their depth of experience in voice training and acting to create an integrated and comprehensive approach informed by Stanislavski and his successors - the acting approach widely taught to actors in drama schools throughout the world. The authors create a step-by-step guide to explore how voice can:
respond to our thoughts, senses, feelings, imagination and will
fully express language in content and form
communicate imaginary circumstances and human experience
transform to adapt to different roles
connect to a variety of audiences and spaces
Featuring over fifty illustrations by German artist Dany Heck, Voice into Acting is an essential manual for the actor seeking full vocal identity in characterization, and for the voice teacher open to new techniques, or an alternative approach, to harmonize with the actor's process.
目次
Acknowledgements
Foreword
List of illustrations
Introduction
PART ONE LAYING THE FOUNDATIONS
Introduction
Chapter 1 The organic acting approach and the voice
Chapter 2 The organic acting approach and the brain
PART TWO THE ESSENTIAL VOCAL SIX - AND INTEGRATING ACTING INTO VOICE
Introduction
Chapter 3 Alignment - backbone of the action
Chapter 4 Breath - the great creative connector
Chapter 5 Centred onset of sound - the vocal identity of the actor
Chapter 6 Pitch range - the music of meaning
Chapter 7 Resonance - vibrating the experience
Chapter 8 Articulation - shaping thought and action
PART THREE INTEGRATING VOICE INTO THE ORGANIC ACTING PROCESS
Introduction
Chapter 9 Interval - receiving and responding
Chapter 10 Awareness, ease and focus
Chapter 11 The action - given circumstances, interaction and objectives
Chapter 12 Seeing, sensing and feeling
Chapter 13 Character voice
Chapter 14 The actor in the space
PART FOUR INTEGRATING VOICE IN REHEARSAL AND PERFORMANCE - PUTTING IT ALL TOGETHER
Introduction
Chapter 15 Meeting the play and the character
Chapter 16 From impulse to action
Chapter 17 From action to form
Conclusion
Selected bibliography
About the authors
Index
Permissions
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