Speaking ShakespeareSt. Martin's Publishing Group, 10. nov. 2015 - 368 sider In Speaking Shakespeare, Patsy Rodenburg tackles one of the most difficult acting jobs: speaking Shakespeare's words both as they were meant to be spoken and in an understandable and dramatic way. Rodenburg calls this "a simple manual to start the journey into the heart of Shakespeare," and that is what she gives us. With the same insight she displayed in The Actor Speaks, Rodenburg tackles the playing of all Shakespeare's characters. She uses dramatic resonance, breathing, and placement to show how an actor can bring Hamlet, Rosalind, Puck and other characters to life. This is one book every working actor must have. |
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... imaginative means for getting to the heart of the text and making the necessity for the language to be strongly felt by audiences.” —Trevor Nunn “Patsy's guidance and the clarity and directness of her approach have been invalu. able to ...
... imaginative means for getting to the heart of the text and making the necessity for the language to be strongly felt by audiences.” —Trevor Nunn “Patsy's guidance and the clarity and directness of her approach have been invalu. able to ...
Side
... Imaginative The Imaginative Exploration of the Text 191 Anchoring the Text 201 Focus and Energy 2.17 Summary 222. Part 4: The Speeches Richard III 2.26 Julius Caesar 236 Measure for Measure 242 King Lear 25o, 259 As You Like It 266 Much ...
... Imaginative The Imaginative Exploration of the Text 191 Anchoring the Text 201 Focus and Energy 2.17 Summary 222. Part 4: The Speeches Richard III 2.26 Julius Caesar 236 Measure for Measure 242 King Lear 25o, 259 As You Like It 266 Much ...
Side 13
... imaginative and curious being exploring the human issues Shakespeare addresses will have a healthy dose of fear ... imagination, but they prove the actor's fear of working with trust. They are frightened of transforming, and only ...
... imaginative and curious being exploring the human issues Shakespeare addresses will have a healthy dose of fear ... imagination, but they prove the actor's fear of working with trust. They are frightened of transforming, and only ...
Side 14
... be central to any actor's training. They challenge physically, intellectually and emotionally, and require access through the imagination to what it is to be human. The Body The Aims • To open the body and 14 Speaking Shakespeare.
... be central to any actor's training. They challenge physically, intellectually and emotionally, and require access through the imagination to what it is to be human. The Body The Aims • To open the body and 14 Speaking Shakespeare.
Side 16
... imagination. It seems either to inhibit our bodies or make us occupy the space aggressively. Both positions lock and close us off from our surroundings. In Shakespeare's world this could be catastrophic. It was a dangerous place where ...
... imagination. It seems either to inhibit our bodies or make us occupy the space aggressively. Both positions lock and close us off from our surroundings. In Shakespeare's world this could be catastrophic. It was a dangerous place where ...
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actor alliteration Antony audience Autolycus beat begin Benedick Berowne blank verse body breath character character's Claudio connected death Demetrius Desdemona doesn’t Edgar Edmund emotional energy exercise eyes Falstaff father feel fool forward givens Gloucester Goneril Hamlet hath hear heart Heightened Circumstances Helena Hermia human husband Iago Iago's iambic iambic pentameter imagination irony Isabella journey Juliet King King Lear Lady Macbeth language Lear Leontes listen look Lysander meaning mouth move murder muscles Oberon Olivia onomatopoeia open vowels Othello pain passion pause Phoebe physical play Posthumus prose Puck push realise rehearsal release reveal rhyming couplet rhythm Richard Romeo Rosalind scene Second Circle sense Shakespeare Shylock Silvius soliloquy sound speak speech stay stop structure syllables tension thee There’s thou thought Titania tongue understand Viola vocal voice vowels walk wife Winter's Tale word