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 xiii
... writers and critics have raised in recent years . It concentrates on acting Shakespeare's text , while not denying ... writing is the absence of any book by an actor on the whole wide range of performing in Shakespeare . As an actor I ...
... writers and critics have raised in recent years . It concentrates on acting Shakespeare's text , while not denying ... writing is the absence of any book by an actor on the whole wide range of performing in Shakespeare . As an actor I ...
Side 9
... writing specifically for this space , which imposed itself on both the writing and the performance of the plays . His stage directions make it clear that the scene was both the prescribed location and the Globe . The audience were never ...
... writing specifically for this space , which imposed itself on both the writing and the performance of the plays . His stage directions make it clear that the scene was both the prescribed location and the Globe . The audience were never ...
Side 116
... writers are two people , if not more : their art grows out of the splits in their personalities ' ( John Carey ) . This is as true of Shakespeare as it is of Chekhov or Dickens . What finally are we to make of Cleopatra or Othello ...
... writers are two people , if not more : their art grows out of the splits in their personalities ' ( John Carey ) . This is as true of Shakespeare as it is of Chekhov or Dickens . What finally are we to make of Cleopatra or Othello ...
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