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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Seite 71
... created by the words themselves which release the specific quality of the verse - the emotion , the image , the ... create the tapestry . The givens move you and the audience forward , and clarify . They lead you through chaos . The ...
... created by the words themselves which release the specific quality of the verse - the emotion , the image , the ... create the tapestry . The givens move you and the audience forward , and clarify . They lead you through chaos . The ...
Seite 143
... created by Puck who is trying to make light of his own mistakes and please his master . Oberon starts this scene with ... create . - Rhyming starts with the spell to release her and as Titania comes to , she begins to rhyme with Oberon ...
... created by Puck who is trying to make light of his own mistakes and please his master . Oberon starts this scene with ... create . - Rhyming starts with the spell to release her and as Titania comes to , she begins to rhyme with Oberon ...
Seite 324
... create its own prob- lems . Sometimes we hear the lyricism rather than what it serves the language hides what is going on rather than reveals it . We will look next at two speeches that can easily create the ' beauty trap ' ! You should ...
... create its own prob- lems . Sometimes we hear the lyricism rather than what it serves the language hides what is going on rather than reveals it . We will look next at two speeches that can easily create the ' beauty trap ' ! You should ...
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