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 20
... head should be balanced on the top of the spine , not pushed forward , tucked in or pulled back . Let your head fall onto your chest and gently swing it from one shoulder to another . Shut your eyes and lift your head up . Only open ...
... head should be balanced on the top of the spine , not pushed forward , tucked in or pulled back . Let your head fall onto your chest and gently swing it from one shoulder to another . Shut your eyes and lift your head up . Only open ...
Seite 21
... head to find its position on top of your spine . You are now embracing the world . I call this position Da Vinci : it is the balanced , open human as depicted by Leonardo . You should feel energy flow out from your hands , through your ...
... head to find its position on top of your spine . You are now embracing the world . I call this position Da Vinci : it is the balanced , open human as depicted by Leonardo . You should feel energy flow out from your hands , through your ...
Seite 55
... head , heart and spirit . The Work • Warm up the resonators of the head , nose , face and throat . You can do this by gently humming and then speaking into each area . Keep on support and keep the throat open . • Start on the head and ...
... head , heart and spirit . The Work • Warm up the resonators of the head , nose , face and throat . You can do this by gently humming and then speaking into each area . Keep on support and keep the throat open . • Start on the head and ...
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