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 68
... walk helps you - go for it . PRECONCEPTIONS AND LABELS It is difficult to tackle the better - known plays without some foreknowledge , some baggage that we have to deal with . We may approach Twelfth Night with the impression that ...
... walk helps you - go for it . PRECONCEPTIONS AND LABELS It is difficult to tackle the better - known plays without some foreknowledge , some baggage that we have to deal with . We may approach Twelfth Night with the impression that ...
Side 70
... of behaviourism . Once they have found the ' look ' - the costume , the hair , the shoes , the walk - they feel they are some way to discovering the - character . A Falstaff might want to wear padding 70 PREPARATION Physical Image.
... of behaviourism . Once they have found the ' look ' - the costume , the hair , the shoes , the walk - they feel they are some way to discovering the - character . A Falstaff might want to wear padding 70 PREPARATION Physical Image.
Side 228
... walks and dresses - but in Shakespeare the opposite is true . We can add costume and walk later on , but I don't think ' Is she this sort of a person ? ' , I just do what I have to do moment to moment , I don't behave or think of ...
... walks and dresses - but in Shakespeare the opposite is true . We can add costume and walk later on , but I don't think ' Is she this sort of a person ? ' , I just do what I have to do moment to moment , I don't behave or think of ...
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