Using his "little grey cells," Hercule Poirot proves his genius and mastery at solving murders in three entertaining mysteries: The Under Dog, Four-and-Twenty Blackbirds, and The Dream. In each, he unearths solutions to murders others have considered impossible. Hugh Fraser's distinctive voice adds considerable pleasure to these wonderful stories.
"As the lead teacher for student voice and participation, this publication has already become an invaluable guide and resource. The book can be used to strengthen, invigorate and champion school councils and pupil voice so much valued by Ofsted. The practical strategies given for how to involve young people in key decision making are easy to follow and will produce solid and impressive results quickly.
This collection of five short stories read by Jean Smart will charm fans of Paretsky (Blood Shot, Audio Reviews, LJ 12/93) and her fabulous creation, V.I. Warshawski. Smart reads beautifully: Warshawski's contralto voice sounds tough, intelligent, and unflagging. The beat and stress of syllables demonstrate the energetic, quick-thinking detective even when her voice fades in exhaustion or pain.
What should an actor be thinking on stage? This overlooked, important question is the crux of this new book that combines psychological theory, practical exercises, and a wide-reaching examination of inner monologue in various forms including film, musical theatre, and comedy. The inner monologue is that "stream of consciousness" or "inner voice" that constantly echoes in your head. This revolutionary new book tames and harnesses that voice to be used as a powerful tool in acting. Written in an accessible tone, the book assists actors, directors and educators in their quest for deeper more thoughtful acting and is a perfect supplement to traditional actor training.
This collection aims first to establish a structure-independent, language-independent definition of pragmatic voice, and more specifically then a universal functional definition of “inverse”. The grammar and pragmatic function of the four major voice constructions — direct-active, inverse, passive, antipassive — are surveyed using narrative texts from 14 languages: Koyukon (Athabascan), Plains Cree (Algonquian), Chepang (Tibeto-Burman), Squamish and Bella Coola (Salish), Sahaptin (Sahaptian), Kutenai (isolate), Surinam Carib (Carib), Spanish and Greek (Indo-European), Korean, Maasai (Nilotic), Cebuano and Karao (Philippine).
