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 6
... enter the height- ened world of need , passion and insight you don't resort to pushing , shouting , generalising or denying the energy of the form and the word . If language has entered the bloodstream , it can be readily accessed ...
... enter the height- ened world of need , passion and insight you don't resort to pushing , shouting , generalising or denying the energy of the form and the word . If language has entered the bloodstream , it can be readily accessed ...
Side 7
... enter a rehearsal room . The Craft If the preparation has been thorough , work on the text will not be obstructed by the actor worrying about his or her breath , voice or speech muscles . Technically weak actors preoccupy the audience ...
... enter a rehearsal room . The Craft If the preparation has been thorough , work on the text will not be obstructed by the actor worrying about his or her breath , voice or speech muscles . Technically weak actors preoccupy the audience ...
Side 342
... entering the room , perhaps not even speaking mounted Imogen like a fat pig , and the only opposition he found and ... entered the room , cried ' O ' and mounted Imogen . - - And yet it's not ridiculous if you are jealous and see the ...
... entering the room , perhaps not even speaking mounted Imogen like a fat pig , and the only opposition he found and ... entered the room , cried ' O ' and mounted Imogen . - - And yet it's not ridiculous if you are jealous and see the ...
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