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 135
... mind ; And therefore is wing'd Cupid painted blind . Nor hath Love's mind of any judgment taste ; Wings and no eyes figure unheedy haste ; And therefore is Love said to be a child , Because in choice he is so oft beguil❜d . As waggish ...
... mind ; And therefore is wing'd Cupid painted blind . Nor hath Love's mind of any judgment taste ; Wings and no eyes figure unheedy haste ; And therefore is Love said to be a child , Because in choice he is so oft beguil❜d . As waggish ...
Seite 240
... mind races , seeing the dreadful consequences of the act . Anyone who has sat by a dead body will probably have experienced the same rush of memory and thoughts of the future . Any death fuels the mind into rapid action . Heighten the ...
... mind races , seeing the dreadful consequences of the act . Anyone who has sat by a dead body will probably have experienced the same rush of memory and thoughts of the future . Any death fuels the mind into rapid action . Heighten the ...
Seite 290
... mind settles on is viewed negatively and lined up for destruction . The workings of his mind are so thorough and cold that to be caught in his line of vision would send a shudder through the soul . Characterisation through Language Our ...
... mind settles on is viewed negatively and lined up for destruction . The workings of his mind are so thorough and cold that to be caught in his line of vision would send a shudder through the soul . Characterisation through Language Our ...
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