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    Voice and the Actor (Paperback) By (author) Cicely Berry, Foreword by Peter Brook

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    Description"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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    Title
    Voice and the Actor
    Authors and contributors
    By (author) Cicely Berry, Foreword by Peter Brook
    Physical properties
    Format: Paperback
    Number of pages: 160
    Width: 137 mm
    Height: 203 mm
    Thickness: 8 mm
    Weight: 181 g
    Language
    English
    ISBN
    ISBN 13: 9780020415558
    ISBN 10: 0020415559
    Classifications

    Warengruppen-Systematik des deutschen Buchhandels: 25610
    B&T Merchandise Category: GEN
    B&T Book Type: NF
    BIC E4L: PER
    Nielsen BookScan Product Class 3: T1.8
    B&T Modifier: Region of Publication: 03
    B&T Modifier: Academic Level: 01
    BIC subject category V2: CFH
    B&T General Subject: 595
    BISAC V2.8: PER010000, PER001000
    DC22: 808.5
    LC subject heading:
    Ingram Subject Code: PA
    DC21: 792.028
    LC classification: PN4197.B46
    LC subject heading: ,
    BIC subject category V2: ANC
    Libri: I-PA
    B&T Approval Code: A07203000
    BISAC V2.8: LAN018000
    B&T Approval Code: C21100000
    LC subject heading:
    LC classification: PN4197 .B46 1991
    Thema V1.0: CFH, ATDC
    Edition statement
    Reprint
    Publisher
    John Wiley & Sons Inc
    Imprint name
    Hungry Minds Inc,U.S.
    Publication date
    13 August 1991
    Publication City/Country
    Foster City
    Back cover copy
    "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 'instinct of the moment'. As her book points out with remarkable persuasiveness 'technique' 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 actor'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 theatre's work. She would never try to separate the sound of words from their living context. For her the two are inseparable. --from Peter Brook's foreword to Voice and the Actor
    Table of contents
    Introduction. 1. Vocal Development. 2. Relaxation and Breathing. 3. Muscularity and Word. 4. The Whole Voice. 5. Speaking Poetry. 6. Listening. 7. Using the Voice. Summary of Exercises. Index.