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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Ergebnisse 1-3 von 69
Seite 83
... sense a finality in the word's shape if not its meaning . It makes you rest and you can sense the silence that follows , hovering in space as the final note of a symphony hangs before the conductor relaxes his arms and the audience ...
... sense a finality in the word's shape if not its meaning . It makes you rest and you can sense the silence that follows , hovering in space as the final note of a symphony hangs before the conductor relaxes his arms and the audience ...
Seite 90
... sense and simultaneously enhances sense . But you should not feel that you have to scan so rigidly that you make no sense . The iambic is a powerful guide but in speech , rhythm and stress are not as important as obedience to the ...
... sense and simultaneously enhances sense . But you should not feel that you have to scan so rigidly that you make no sense . The iambic is a powerful guide but in speech , rhythm and stress are not as important as obedience to the ...
Seite 93
... sense the marriage between you and the text's rhythm , stop beating the iambic and go back to speaking the speech with sense . Change your point of concentration to make the words work , and try to put the iambic to the back of your ...
... sense the marriage between you and the text's rhythm , stop beating the iambic and go back to speaking the speech with sense . Change your point of concentration to make the words work , and try to put the iambic to the back of your ...
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