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 87
... things about ourselves we don't much like . This requires an atmosphere of trust , which the director should be nurturing . The important thing is to free the subconscious and let it have full rein , but at the same time to start ...
... things about ourselves we don't much like . This requires an atmosphere of trust , which the director should be nurturing . The important thing is to free the subconscious and let it have full rein , but at the same time to start ...
Side 144
... things from her point of view , but don't gloss over her faults , and above all don't crave to be liked or play for sympathy . Rosalind , Richard II , Cressida , Falstaff , Helena and Othello will all emerge as more rounded characters ...
... things from her point of view , but don't gloss over her faults , and above all don't crave to be liked or play for sympathy . Rosalind , Richard II , Cressida , Falstaff , Helena and Othello will all emerge as more rounded characters ...
Side 248
... things that I was telling him . All the rehearsals were about absolute clarity of thought . To explore all those things honestly is quite scary , because they are all the things that hold a human being together - your relationship to ...
... things that I was telling him . All the rehearsals were about absolute clarity of thought . To explore all those things honestly is quite scary , because they are all the things that hold a human being together - your relationship to ...
Indhold
PREPARATION | 3 |
PERFORMANCE | 5 |
Repertoire Casting and Touring | 10 |
Copyright | |
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Almindelige termer og sætninger
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