Performing ShakespeareNick Hern Books, 2007 - 274 sider Drawing on a lifetime's experience of playing Shakespearean roles, Oliver Ford Davies offers practical advice to actors, directors, and drama students on a wide variety of scenes, characters, speeches, and individual lines from almost every one of the plays. An authoritative, hands-on guide through the practical challenges involved in performing Shakespeare. |
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Side 89
... becoming non - existent . We now live in a world of such noise and dissonance that language is barely heard or , when it is , twenty - four - hour television and ... become apparent . Listen to the sound first and the meaning LANGUAGE 89.
... becoming non - existent . We now live in a world of such noise and dissonance that language is barely heard or , when it is , twenty - four - hour television and ... become apparent . Listen to the sound first and the meaning LANGUAGE 89.
Side 130
... becomes central . Sometimes the quest for ' character ' becomes an irrelevance , as text and situation become the only thing that matters . Simon Russell Beale found when playing Thersites that the audience reaction was such that ' I ...
... becomes central . Sometimes the quest for ' character ' becomes an irrelevance , as text and situation become the only thing that matters . Simon Russell Beale found when playing Thersites that the audience reaction was such that ' I ...
Side 142
... become the character , and the romantic , who make the character become themselves . Granville Barker , however , wrote that it is a fallacy that the actor can suppress his own personality in favour of the dramatist's invention ...
... become the character , and the romantic , who make the character become themselves . Granville Barker , however , wrote that it is a fallacy that the actor can suppress his own personality in favour of the dramatist's invention ...
Indhold
PREPARATION | 3 |
PERFORMANCE | 5 |
Repertoire Casting and Touring | 10 |
Copyright | |
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acting action actor alliteration appear audience become breath calls cast character clear Cleopatra comedy complete Coriolanus course death direction director Duke early Elizabethan emotional example experience express fact feel final folio follow fools give Globe Hamlet hand heart Henry Iago idea imagination important intention interesting Isabella it's Juliet King Lady language later leading Lear London look lord Macbeth marked meaning Measure mind move nature never night Olivia once Othello pause performance perhaps person play Players plot possible present probably problem production prose question rehearsal rhyme Richard scene seems sense Shakespeare simply soliloquy sometimes sound speak speech stage story suggest talking tell theatre things thought turn understand usually verse Viola voice whole women writing wrote