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 44
... face and allow the muscles to return gently without placing them . After a couple of attempts at this , your face and jaw will feel freer - breathe and support the breath throughout . • Smile and , keeping the smile in place , open your ...
... face and allow the muscles to return gently without placing them . After a couple of attempts at this , your face and jaw will feel freer - breathe and support the breath throughout . • Smile and , keeping the smile in place , open your ...
Side 55
... face and throat . You can do this by gently humming and then speaking into each area . Keep on support and keep the throat open . • Start on the head and play with each resonator as you come down into the nose , face , throat and chest ...
... face and throat . You can do this by gently humming and then speaking into each area . Keep on support and keep the throat open . • Start on the head and play with each resonator as you come down into the nose , face , throat and chest ...
Side 202
... face and speak words that you would normally never use , you will start organically to characterise . As soon as you speak alien words , you are no longer yourself . Now go back and voice the text with all the givens in place , allowing ...
... face and speak words that you would normally never use , you will start organically to characterise . As soon as you speak alien words , you are no longer yourself . Now go back and voice the text with all the givens in place , allowing ...
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