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 53
... listen . Of course , they also use their eyes , but the visual is secondary to the aural because the action is primarily in the word and this they can only fully experi- ence through the ears . This is simply not possible if the actor ...
... listen . Of course , they also use their eyes , but the visual is secondary to the aural because the action is primarily in the word and this they can only fully experi- ence through the ears . This is simply not possible if the actor ...
Seite 60
Patsy Rodenburg. Listening It sounds basic but it's the first and last thing you must do . You must practise listening , not to your voice , but to the outside world . Unless we listen in Shakespeare , we won't hear the richness of the ...
Patsy Rodenburg. Listening It sounds basic but it's the first and last thing you must do . You must practise listening , not to your voice , but to the outside world . Unless we listen in Shakespeare , we won't hear the richness of the ...
Seite 218
... listen ; our voices are open and placed as we really do want them to reach someone . It is very hard not to listen to anyone connected in the Second Circle . All the finest actors I have worked with in Shakespeare are naturally in it ...
... listen ; our voices are open and placed as we really do want them to reach someone . It is very hard not to listen to anyone connected in the Second Circle . All the finest actors I have worked with in Shakespeare are naturally in it ...
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