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 199
... Hold back even as you fade . Avoid going so fast or so slow that what you are saying is unintelligible . Shape your acceleration and your deceleration so that you don't reach the final speed or slowness until the very last words of the ...
... Hold back even as you fade . Avoid going so fast or so slow that what you are saying is unintelligible . Shape your acceleration and your deceleration so that you don't reach the final speed or slowness until the very last words of the ...
Seite 217
... hold back . Even when you get to the climax , you should hold back a bit : screaming gets unintelligible , so does talking too fast or too shrilly . There is always an opposing energy at work as you build , some force that holds back ...
... hold back . Even when you get to the climax , you should hold back a bit : screaming gets unintelligible , so does talking too fast or too shrilly . There is always an opposing energy at work as you build , some force that holds back ...
Seite 341
... hold it off . 17.7 Imagine that Clytemnestra approaches Agamemnon's body as she finishes her speech . " It is right and more than right " is spoken to herself as much as to the chorus : she is talking to that part of her that feels it ...
... hold it off . 17.7 Imagine that Clytemnestra approaches Agamemnon's body as she finishes her speech . " It is right and more than right " is spoken to herself as much as to the chorus : she is talking to that part of her that feels it ...
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