Selected exercises on language and sound by voice teacher Cicely Berry were used to develop and explore a sound-based approach to directing the play Sorrows and Rejoicings by Athol Fugard. Berry’s various strategies grounded the practical exploration of and improvisation on the poem Tristia by Ovid, and made possible a more open approach to the play; within the realism of the language a poetic and heightened quality led to a deep exploration of the characters and their emotional and physical landscapes. Berry’s exercises potentially offer a valuable and alternative approach towards conceptualizing a directing approach for both classic and modern texts.

中文翻译：

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解锁文本：西西莉·贝瑞 (Cicely Berry) 对关键练习的探索，为阿索尔·富加德 (Athol Fugard) 的戏剧《悲伤与喜悦》(Sorrows and Rejoicings) 寻找基于声音的导演概念

由语音教师 Cicely Berry 选择的语言和声音练习被用来开发和探索一种基于声音的方法来指导 Athol Fugard 的戏剧 Sorrows and Rejoicings。贝瑞的各种策略以奥维德的诗《特里斯蒂亚》为基础，以实践探索和即兴创作为基础，使戏剧更加开放；在语言的现实主义中，一种诗意和更高的品质导致了对人物及其情感和身体景观的深入探索。Berry 的练习可能为经典和现代文本的指导方法概念化提供了一种有价值的替代方法。