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. |
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... seam , you will accentuate it . - There are two possible ways to knit a seam together so that the action is continuous : you can anticipate or delay the new energy that is , you can begin the fade before or after the seam . Which choice ...
... seam , you will accentuate it . - There are two possible ways to knit a seam together so that the action is continuous : you can anticipate or delay the new energy that is , you can begin the fade before or after the seam . Which choice ...
Seite 244
... seam . In order to knit the seam so as to make it disappear , you will have to start fading before the seam or hold off starting the new energy until after the seam . Instead of : you can delay : or anticipate : 12.17 The new idea comes ...
... seam . In order to knit the seam so as to make it disappear , you will have to start fading before the seam or hold off starting the new energy until after the seam . Instead of : you can delay : or anticipate : 12.17 The new idea comes ...
Seite 245
... seam jumps from A to B ; knitting it forces you to fade , which means that you and the audience live through the transition . If you anticipate a new energy before arriving at the seam , an audience senses , when you do get around to ...
... seam jumps from A to B ; knitting it forces you to fade , which means that you and the audience live through the transition . If you anticipate a new energy before arriving at the seam , an audience senses , when you do get around to ...
Inhalt
Preface | 1 |
Chapter 2 | 30 |
Chapter 4 | 61 |
Urheberrecht | |
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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