03073nam 2200673 a 450 991078436740332120230421043823.00-8166-8648-3(CKB)1000000000347110(EBL)310360(OCoLC)476094094(SSID)ssj0000230433(PQKBManifestationID)11203840(PQKBTitleCode)TC0000230433(PQKBWorkID)10177970(PQKB)11619091(MiAaPQ)EBC310360(OCoLC)277199140(MdBmJHUP)muse39696(Au-PeEL)EBL310360(CaPaEBR)ebr10159419(CaONFJC)MIL522559(EXLCZ)99100000000034711019951010d1996 uy 0engur|||||||nn|ntxtccrPublic history, private stories[electronic resource] Italian women's autobiography /Graziella ParatiMinneapolis University of Minnesota Pressc19961 online resource (206 p.)Description based upon print version of record.0-8166-2607-3 0-8166-2606-5 Includes bibliographical references (p. 159-188) and index.Contents; Acknowledgments; Introduction; ONE: Camilla Faà Gonzaga: Public and Private in a Woman's Autobiography; TWO: Speaking through Her Body: The Futurist Seduction of a Woman's Voice; THREE: From Genealogy to Gynealogy and Beyond: Fausta Cialente's Le quattro ragazze Wieselberger; FOUR: Rita Levi Montalcini's Perfect Imperfection: A Woman's Role in the Public Sphere; FIVE: Luisa Passerini's Autoritratto di gruppo: Personalizing Theory; CONCLUSION: Beyond Gynealogical Techniques: Writing Private History and Public Stories; Notes; IndexParati examines the ways in which Italian women writers articulate their identities through autobiography-a public act that is also the creation of a private life. Considering autobiographical writings by five women writers from the seventeenth century to the present, Parati draws important connections between self-writing and the debate over women's roles, both traditional and transgressive.Italian prose literatureWomen authorsHistory and criticismAutobiographyWomen authorsPublic opinion in literatureWomen and literatureItalyPrivacy in literatureWomen in literatureItalian prose literatureWomen authorsHistory and criticism.AutobiographyWomen authors.Public opinion in literature.Women and literaturePrivacy in literature.Women in literature.850.9/9287Parati Graziella608222MiAaPQMiAaPQMiAaPQBOOK9910784367403321Public history, private stories1109931UNINA02572nam 2200529 450 991081478670332120230803035015.01-4081-1652-91-4742-6102-71-4081-4968-0(CKB)3710000000128603(EBL)1715656(MiAaPQ)EBC1715656(Au-PeEL)EBL1715656(CaPaEBR)ebr10883873(CaONFJC)MIL618578(OCoLC)881607271(MiAaPQ)EBC6163038(EXLCZ)99371000000012860320140626e20132004 uy 0engur|n|---|||||rdacontentrdamediardacarrierSinging and the actor /Gillyanne KayesSecond edition.London, England ;New York, New York :Bloomsbury Methuen Drama,2013.©20041 online resource (209 p.)Includes indexes.1-306-87327-4 0-7136-6823-7 Cover; Contents; Acknowledgements; Foreword; Section 1: HOW THE VOICE WORKS; 1 How do I make the notes?; 2 My voice won''t come out at auditions; 3 But I thought I wasn''t supposed to feel anything!; 4 What exactly is support?; Section 2: TRAINING YOUR VOICE; 5 Developing the three octave siren; 6 The nasal port; 7 Dynamic control and projection; 8 Tuning the oral resonator; 9 Twang, the singer''s formant; Section 3: WORKING THE TEXT; 10 Putting it together; 11 Singing the text; 12 Creating voice qualities; 13 The act of singing; Afterword; Glossary; A; B; C; F; G; H; I; L; M; N; O; P; R; SVList of exercises and song assignments; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; V; W; Index of song titles<P>Classical singing training is no longer relevant for the theatre performer today. So how does an actor train his singing voice? </P> <P>Now in its second edition, this practical handbook takes the reader through <B>a step-by-step training programme relevant to the modern singing actor and dancer</B>. A variety of contemporary voice qualities including belting and twang are explained, with exercises for each topic. </P>SingingInstruction and studySingingInstruction and study.783Kayes Gillyanne907840MiAaPQMiAaPQMiAaPQBOOK9910814786703321Singing and the actor4045232UNINA