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Product Description
"The Need for Words is an astonishing book. It takes you on an extraordinary voyage of discovery through the worlds of language and texts. Every actor and non-actor should know it and read it." Declan Donnellan (director) In The Need for Words, Patsy Rodenburg shows herself to be an inspired and inspiring teacher. Her work is an essential tool for today's teachers and students. She enables them to regain power over language, voice and speech so they can speak out and be heard." Jenny Harris (Head of Education, Royal National Theatre) Patsy Rodenburg is Director of Voice at the Royal National Theatre and the Guildhall School of Music and Drama and is recognised as one of the world's leading voice and acting coaches. She has worked regularly with the best-known actors of the British theatre, including Dame Judy Dench, Sir Ian McKellen, Antony Sher, Harriet Walter, Nigel Hawthorne, Rosemary Harris, Daniel Day-Lewis, Simon Russell Beale and Ralph Fiennes.
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Most Helpful Customer Reviews
12 of 12 people found the following review helpful
Format:Paperback
This sequel to the "Right to Speak" is an excellent book for the Vocal/ Dialogue/ Acting Teacher and for all those interested in the way the speaking voice is transformed by the world in which we live. It has a two part structure.
Part one discusses why our voices are formed. It provides a controversial insight into the roles of the education system and media in the loss of eloquence amongst speakers today and more importantly the link between speaking, reading and writing. Discussion and debating, training for young actors, and a section on speaking Shakespeare as well as a detailed discussion on the cultural and physical barriers to speaking freely are provided.
Part two deals with the more practical, but no less important, concerns of finding a voice that is unique to the individual and taking that voice into the expression of text. It also deals with working with texts ranging from poetry to Shakepeare, Marlowe, Milton, Pope, Wilde, Shaw, Blake, Beckett and Pinter as well as Jacobean, Restoration and Greek Theatre. It even gives advice on working with 'bad texts'. There are some brilliant activities to use in the rehearsal space, the classroom or at home working on a text.
This book is a wonderful asset.
Part one discusses why our voices are formed. It provides a controversial insight into the roles of the education system and media in the loss of eloquence amongst speakers today and more importantly the link between speaking, reading and writing. Discussion and debating, training for young actors, and a section on speaking Shakespeare as well as a detailed discussion on the cultural and physical barriers to speaking freely are provided.
Part two deals with the more practical, but no less important, concerns of finding a voice that is unique to the individual and taking that voice into the expression of text. It also deals with working with texts ranging from poetry to Shakepeare, Marlowe, Milton, Pope, Wilde, Shaw, Blake, Beckett and Pinter as well as Jacobean, Restoration and Greek Theatre. It even gives advice on working with 'bad texts'. There are some brilliant activities to use in the rehearsal space, the classroom or at home working on a text.
This book is a wonderful asset.
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