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 155
Patsy Rodenburg. Prose Prose in Shakespeare is one of the least examined aspects in rehearsal , though it is as important as verse . The most common advice given by directors is simply to ' Speak it quickly ' . It's true that a degree of ...
Patsy Rodenburg. Prose Prose in Shakespeare is one of the least examined aspects in rehearsal , though it is as important as verse . The most common advice given by directors is simply to ' Speak it quickly ' . It's true that a degree of ...
Seite 159
... prose in the tavern with Falstaff and his cronies , but resorts to verse as he grows increasingly aware of the changes he needs to make in his life . Still , his ease in prose is an important indication of his ability to speak with his ...
... prose in the tavern with Falstaff and his cronies , but resorts to verse as he grows increasingly aware of the changes he needs to make in his life . Still , his ease in prose is an important indication of his ability to speak with his ...
Seite 160
... prose , and he might display the evil in his soul . Macbeth , by contrast , is a play with very little prose . Lady Macbeth reads a prose letter from her husband , and the porter speaks a comic prose speech in a section that serves to ...
... prose , and he might display the evil in his soul . Macbeth , by contrast , is a play with very little prose . Lady Macbeth reads a prose letter from her husband , and the porter speaks a comic prose speech in a section that serves 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