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 3
... language sensitises the students to structure , rhythm , imagery and poetry . Language must be important to them – a powerful tool . This means they have to explore how they use language and how language affects them . Many of them have ...
... language sensitises the students to structure , rhythm , imagery and poetry . Language must be important to them – a powerful tool . This means they have to explore how they use language and how language affects them . Many of them have ...
Seite 191
... language . This section builds on the foundation of the givens . It will take you into a deeper exploration of words and images , and animate the language with specific , felt , imagi- native experience . While the givens create a ...
... language . This section builds on the foundation of the givens . It will take you into a deeper exploration of words and images , and animate the language with specific , felt , imagi- native experience . While the givens create a ...
Seite 312
... language . If Romeo and Juliet are effectively married by the speaking of a sonnet on their first meeting , this married couple is breaking apart . Lady Macbeth's language is mostly about action and practicalities she does not use it to ...
... language . If Romeo and Juliet are effectively married by the speaking of a sonnet on their first meeting , this married couple is breaking apart . Lady Macbeth's language is mostly about action and practicalities she does not use it to ...
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