Speaking ShakespeareMethuen, 2002 - 355 Seiten This text journeys to the heart of speaking and acting Shakespeare. Starting with the givens of speaking verse through to the rehearsal of leading Shakespeare roles from Hamlet, King Lear, Richard III, Macbeth and others, this title unlocks some of the greatest challenges from a playwrite that any actor will encounter. With a mixture of anecdotes and clear instructions starting with the voice and moving on to major textual analysis, this text provides a guide to anyone who wants to start to understand how to act Shakespeare. |
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Ergebnisse 1-3 von 79
Seite 213
... It's what we do all the time : lis- ten to any conversation and people will be talking about matters that are real and alive to them , not about some abstract entity . When actors don't know the people or things they refer to , the ...
... It's what we do all the time : lis- ten to any conversation and people will be talking about matters that are real and alive to them , not about some abstract entity . When actors don't know the people or things they refer to , the ...
Seite 218
... it's not specific or individual they don't care . Third is what most actors do if they are required to fill a space or to speak with pace before they have fully connected to the language . It's all sound and fury with no listening and ...
... it's not specific or individual they don't care . Third is what most actors do if they are required to fill a space or to speak with pace before they have fully connected to the language . It's all sound and fury with no listening and ...
Seite 235
... it's an untempered venting that includes creeping things and an aborted child frightening its mother . It's not stately and considered language : it's fresh and raw , and has a poignant directness that highlights her youth and her pain ...
... it's an untempered venting that includes creeping things and an aborted child frightening its mother . It's not stately and considered language : it's fresh and raw , and has a poignant directness that highlights her youth and her pain ...
Inhalt
Foundation Craft | 3 |
The Body | 15 |
The State of Readiness | 23 |
Urheberrecht | |
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actor alliteration Antony audience Autolycus beat begin Benedick Berowne blank verse body breath character character's Claudio connected death Demetrius Desdemona Edgar Edmund emotional energy exercise explore eyes Falstaff father feel fool forward givens Gloucester Goneril Hamlet hath hear heart Heightened Circumstances Helena Hermia human husband Iago iambic iambic pentameter imagination irony Isabella journey Juliet King King Lear Lady Macbeth language Lear Leontes listen look Lysander meaning Merchant of Venice mouth move murder muscles Oberon Olivia onomatopoeia Othello pain passion pause Phoebe physical play Posthumus prose Puck push realise rehearsal release reveal rhyming couplet rhythm Richard Romeo Rosalind scene Second Circle sense Shakespeare Shylock Silvius soliloquy sound speak speech stay stop structure syllables tension thee thou thought Titania tongue Tybalt understand Viola vocal voice vowels walk wife Winter's Tale word