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 194
... givens about feel- ing corseted , too heavily constrained by the writer's forms . They feel that their interpretation of a part doesn't fit the givens and that their creativity is being curbed . In fact , of course , your creativity ...
... givens about feel- ing corseted , too heavily constrained by the writer's forms . They feel that their interpretation of a part doesn't fit the givens and that their creativity is being curbed . In fact , of course , your creativity ...
Seite 354
... givens in a text . If you do them before learning a speech , you will find they help you memorise the text more quickly and more physically and organically . The text will have entered your body and breath , not just your mind . 2. The ...
... givens in a text . If you do them before learning a speech , you will find they help you memorise the text more quickly and more physically and organically . The text will have entered your body and breath , not just your mind . 2. The ...
Seite 355
... givens drive the thoughts and story forward . An actor who sees only the givens will give a clear rendering of a character , not an emotional one . The givens are the foundation stones that will hold you , the story and the ...
... givens drive the thoughts and story forward . An actor who sees only the givens will give a clear rendering of a character , not an emotional one . The givens are the foundation stones that will hold you , the story and the ...
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