Speaking ShakespeareMethuen, 2002 - 355 sider This text journeys to the heart of speaking and acting Shakespeare. Starting with the givens of speaking verse through to the rehearsal of leading Shakespeare roles from Hamlet, King Lear, Richard III, Macbeth and others, this title unlocks some of the greatest challenges from a playwrite that any actor will encounter. With a mixture of anecdotes and clear instructions starting with the voice and moving on to major textual analysis, this text provides a guide to anyone who wants to start to understand how to act Shakespeare. |
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Side 27
... begin to touch the huge power you have in your breath and the lower abdominal area . You wouldn't physically indulge in the useless tensions of denial or bluff . · you Experiment with some of these useless tensions . See how weak become ...
... begin to touch the huge power you have in your breath and the lower abdominal area . You wouldn't physically indulge in the useless tensions of denial or bluff . · you Experiment with some of these useless tensions . See how weak become ...
Side 90
... begin to not only feel the heavy stresses but textures within those stresses . Thus the rhythm helps you make sense ... begin to observe places where the text itself staggers and to feel the sorts of friction these irregularities create ...
... begin to not only feel the heavy stresses but textures within those stresses . Thus the rhythm helps you make sense ... begin to observe places where the text itself staggers and to feel the sorts of friction these irregularities create ...
Side 107
... begin to settle in you . • You should also begin to feel the forward thrust of the line . Each word will take you forward , step by step . • By deliberately breaking up the line , you have blocked this thrust and the iambic , and you ...
... begin to settle in you . • You should also begin to feel the forward thrust of the line . Each word will take you forward , step by step . • By deliberately breaking up the line , you have blocked this thrust and the iambic , and you ...
Indhold
Foundation Craft | 3 |
The Body | 15 |
The State of Readiness | 23 |
Copyright | |
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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 Edgar Edmund emotional energy exercise explore eyes Falstaff father feel fool forward givens Gloucester Goneril Hamlet hath hear heart Heightened Circumstances Helena Hermia human husband Iago iambic iambic pentameter imagination irony Isabella journey Juliet King King Lear Lady Macbeth language Lear Leontes listen look Lysander meaning Merchant of Venice mouth move murder muscles Oberon Olivia onomatopoeia 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 thou thought Titania tongue Tybalt understand Viola vocal voice vowels walk wife Winter's Tale word