Acting Narrative Speeches: The Actor as StorytellerMeriwether Pub., 2002 - 445 Seiten Narrative speeches, both classical and contemporary, are used to reveal how an actor can discover the inherent energy, the essence and the subtextual colours of every word and sentences of a dramatic speech. This book clearly demonstrates that any memorable performance needs far more than acting technique alone. In eighteen chapters actor/director/teacher McDonough defines in depth how an actor can find the often overlooked subtleties that create characters with dimension and moments of heightened reality. |
Im Buch
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Seite 24
... experience . - - Emotional substitution Some " Method " actors , concerned with playing emotions as honestly as possible , use a technique called " emotional substitution . " Imagine that in order to play what your character feels at a ...
... experience . - - Emotional substitution Some " Method " actors , concerned with playing emotions as honestly as possible , use a technique called " emotional substitution . " Imagine that in order to play what your character feels at a ...
Seite 25
... experience and that of a character is , of course , a natural and desirable development . But a habit of substituting your own experiences for those of your character condemns you to playing your own life over and over again whereas ...
... experience and that of a character is , of course , a natural and desirable development . But a habit of substituting your own experiences for those of your character condemns you to playing your own life over and over again whereas ...
Seite 72
... experience is so new or unique or intense that ordinary words fail us , characters resort to metaphor . - - Metaphor is not simply poetic language for heightened occasions ; it is , quite fundamentally , how we think . It is the ...
... experience is so new or unique or intense that ordinary words fail us , characters resort to metaphor . - - Metaphor is not simply poetic language for heightened occasions ; it is , quite fundamentally , how we think . It is the ...
Inhalt
Preface | 1 |
Chapter 2 | 30 |
Chapter 4 | 61 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
acceleration acting action actor Agamemnon Appendix Athi audience beginning body build caesura central moment chair character character's choices circumstances climax Clytemnestra conjure create deceleration develop draft E.E. Cummings emotional emphasize endwords energy example explore expressive eyes fade father feel feet from/to gesture Gus Edwards Hamlet hand happened hear Hotspur I'm Not Rappaport Imagine implicit scene impulses indirect quote inner conflict inside the story Juliet language layered look metaphor moments Monologues move movement narrative speeches onomatopoeia onomatopoetic opposites performance phrase physical play point of view possible pullback Puntila rehearsal reliving rhythm rhythmic Romeo Romeo and Juliet Sam Shepard seam sentence set the scene Shakespeare shape single image slow snake handling sound sense space specific spondee stage syllables talk tell the story telling a story theater Titania transition trochee Tybalt voice Wesley Weston words