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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Seite 136
... seems to float up . We think of kites high above us , weightless on the wind . How might your body reflect this shift without suggesting that the dying cowboy is literally flying ? Practice In Gesture , Movement and Space In performance ...
... seems to float up . We think of kites high above us , weightless on the wind . How might your body reflect this shift without suggesting that the dying cowboy is literally flying ? Practice In Gesture , Movement and Space In performance ...
Seite 145
... seem an echo to the sense [ ... ] The sound of words , says Alexander Pope in An Essay on Criticism , should echo ... seems to hit the shore on " lash " wet the " sh " sounds , as if it were ocean spray ! “ Hoarse ” and “ rough ” how ...
... seem an echo to the sense [ ... ] The sound of words , says Alexander Pope in An Essay on Criticism , should echo ... seems to hit the shore on " lash " wet the " sh " sounds , as if it were ocean spray ! “ Hoarse ” and “ rough ” how ...
Seite 269
... seem truthfully and naturally to move along at a brisker pace ? Why ? Which parts must go slower why ? What is the ... seems to be an absurdly fast pace , is that it inevitably discovers sections that in fact should go that fast . It ...
... seem truthfully and naturally to move along at a brisker pace ? Why ? Which parts must go slower why ? What is the ... seems to be an absurdly fast pace , is that it inevitably discovers sections that in fact should go that fast . It ...
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