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 13
... plays with certain actors in mind , but much of his direction was already written into the text ( see pp . 94-6 ) . Authors weren't the play's principal selling point : deaths , mad- ness , royalty and comedy held greater attraction for ...
... plays with certain actors in mind , but much of his direction was already written into the text ( see pp . 94-6 ) . Authors weren't the play's principal selling point : deaths , mad- ness , royalty and comedy held greater attraction for ...
Side 66
... PLAY It is important at the outset to consider what FUNCTION a character has in a play , and for the actor to come to terms with it . With leading parts it is usually clear . Othello , Iago , Desde- mona and Cassio are central to the ...
... PLAY It is important at the outset to consider what FUNCTION a character has in a play , and for the actor to come to terms with it . With leading parts it is usually clear . Othello , Iago , Desde- mona and Cassio are central to the ...
Side 85
... play for a long time , read books , watched videos , gone into monastic retreat , travelled to Verona , and learnt all their words . Others will have done nothing , not even read the whole play . Underpreparation can waste a lot of time ...
... play for a long time , read books , watched videos , gone into monastic retreat , travelled to Verona , and learnt all their words . Others will have done nothing , not even read the whole play . Underpreparation can waste a lot of time ...
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