Voice into acting: integrating voice and the Stanislavski approach
Voice into Acting focuses, not simply on voice as a skill or ways to approach text, but on how to integrate voice into acting process and performance. How can actors bridge the gap between themselves and the text and action of a script, and integrate fully their learned vocal skills? How do we make...
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Weitere Verfasser: | |
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London [u.a.]
Bloomsbury Methuen Drama
2014
|
| Ausgabe: | 1. publ. |
| Schriftenreihe: | Drama and performance studies
|
| Schlagworte: | |
| Zusammenfassung: | Voice into Acting focuses, not simply on voice as a skill or ways to approach text, but on how to integrate voice into acting process and performance. How can actors bridge the gap between themselves and the text and action of a script, and integrate 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 bring the two together in a unified and comprehensive approach informed by Stanislavski and his successors - the approach taught to actors in drama schools throughout the world and which draws on natural human experience in the creation of a role |
| Beschreibung: | XXI, 384 S. Ill., graph. Darst. 24 cm |
| ISBN: | 9781408183564 |
Internformat
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| 100 | 1 | |a Gutekunst, Christina |d 20. Jh. |e Verfasser |0 (DE-588)1069312541 |4 aut | |
| 245 | 1 | 0 | |a Voice into acting |b integrating voice and the Stanislavski approach |c Christina Gutekunst and John Gillet. Ill. by Dany Heck |
| 250 | |a 1. publ. | ||
| 264 | 1 | |a London [u.a.] |b Bloomsbury Methuen Drama |c 2014 | |
| 300 | |a XXI, 384 S. |b Ill., graph. Darst. |c 24 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 490 | 0 | |a Drama and performance studies | |
| 505 | 0 | |a 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 | |
| 520 | |a Voice into Acting focuses, not simply on voice as a skill or ways to approach text, but on how to integrate voice into acting process and performance. How can actors bridge the gap between themselves and the text and action of a script, and integrate 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 bring the two together in a unified and comprehensive approach informed by Stanislavski and his successors - the approach taught to actors in drama schools throughout the world and which draws on natural human experience in the creation of a role | ||
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Datensatz im Suchindex
| _version_ | 1804152955118551040 |
|---|---|
| any_adam_object | |
| author | Gutekunst, Christina 20. Jh Gillett, John |
| author2 | Heck, Dany |
| author2_role | ill |
| author2_variant | d h dh |
| author_GND | (DE-588)1069312541 |
| author_facet | Gutekunst, Christina 20. Jh Gillett, John Heck, Dany |
| author_role | aut aut |
| author_sort | Gutekunst, Christina 20. Jh |
| author_variant | c g cg j g jg |
| building | Verbundindex |
| bvnumber | BV042342818 |
| contents | 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 |
| ctrlnum | (OCoLC)915571124 (DE-599)BVBBV042342818 |
| edition | 1. publ. |
| format | Book |
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| id | DE-604.BV042342818 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:18:56Z |
| institution | BVB |
| isbn | 9781408183564 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027779310 |
| oclc_num | 915571124 |
| open_access_boolean | |
| owner | DE-B170 |
| owner_facet | DE-B170 |
| physical | XXI, 384 S. Ill., graph. Darst. 24 cm |
| publishDate | 2014 |
| publishDateSearch | 2014 |
| publishDateSort | 2014 |
| publisher | Bloomsbury Methuen Drama |
| record_format | marc |
| series2 | Drama and performance studies |
| spelling | Gutekunst, Christina 20. Jh. Verfasser (DE-588)1069312541 aut Voice into acting integrating voice and the Stanislavski approach Christina Gutekunst and John Gillet. Ill. by Dany Heck 1. publ. London [u.a.] Bloomsbury Methuen Drama 2014 XXI, 384 S. Ill., graph. Darst. 24 cm txt rdacontent n rdamedia nc rdacarrier Drama and performance studies 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 Voice into Acting focuses, not simply on voice as a skill or ways to approach text, but on how to integrate voice into acting process and performance. How can actors bridge the gap between themselves and the text and action of a script, and integrate 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 bring the two together in a unified and comprehensive approach informed by Stanislavski and his successors - the approach taught to actors in drama schools throughout the world and which draws on natural human experience in the creation of a role Stanislavskij, Konstantin Sergeevič 1863-1938 (DE-588)118616765 gnd rswk-swf Schauspielkunst (DE-588)4129090-2 gnd rswk-swf Stimme (DE-588)4057587-1 gnd rswk-swf Sprecherziehung (DE-588)4056519-1 gnd rswk-swf Stanislavskij, Konstantin Sergeevič 1863-1938 (DE-588)118616765 p Sprecherziehung (DE-588)4056519-1 s DE-604 Stimme (DE-588)4057587-1 s Schauspielkunst (DE-588)4129090-2 s Gillett, John Verfasser aut Heck, Dany ill |
| spellingShingle | Gutekunst, Christina 20. Jh Gillett, John Voice into acting integrating voice and the Stanislavski approach 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 Stanislavskij, Konstantin Sergeevič 1863-1938 (DE-588)118616765 gnd Schauspielkunst (DE-588)4129090-2 gnd Stimme (DE-588)4057587-1 gnd Sprecherziehung (DE-588)4056519-1 gnd |
| subject_GND | (DE-588)118616765 (DE-588)4129090-2 (DE-588)4057587-1 (DE-588)4056519-1 |
| title | Voice into acting integrating voice and the Stanislavski approach |
| title_auth | Voice into acting integrating voice and the Stanislavski approach |
| title_exact_search | Voice into acting integrating voice and the Stanislavski approach |
| title_full | Voice into acting integrating voice and the Stanislavski approach Christina Gutekunst and John Gillet. Ill. by Dany Heck |
| title_fullStr | Voice into acting integrating voice and the Stanislavski approach Christina Gutekunst and John Gillet. Ill. by Dany Heck |
| title_full_unstemmed | Voice into acting integrating voice and the Stanislavski approach Christina Gutekunst and John Gillet. Ill. by Dany Heck |
| title_short | Voice into acting |
| title_sort | voice into acting integrating voice and the stanislavski approach |
| title_sub | integrating voice and the Stanislavski approach |
| topic | Stanislavskij, Konstantin Sergeevič 1863-1938 (DE-588)118616765 gnd Schauspielkunst (DE-588)4129090-2 gnd Stimme (DE-588)4057587-1 gnd Sprecherziehung (DE-588)4056519-1 gnd |
| topic_facet | Stanislavskij, Konstantin Sergeevič 1863-1938 Schauspielkunst Stimme Sprecherziehung |
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