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 87
... look upon myself , and curse my fate , ( ten ) The investigation of the syllables tells you immediately that there is an irregular third line . The first disturbance is on ' trouble ' – trouble is trou- bled ; then ' deaf heaven ...
... look upon myself , and curse my fate , ( ten ) The investigation of the syllables tells you immediately that there is an irregular third line . The first disturbance is on ' trouble ' – trouble is trou- bled ; then ' deaf heaven ...
Side 197
... look to see his father Bring up his powers ; - ( II.iii ) Look how precise she is – she names the son ' Percy ' to his father , and then goes further and calls him by her heart's name , Harry . She was there on the battlefield and saw ...
... look to see his father Bring up his powers ; - ( II.iii ) Look how precise she is – she names the son ' Percy ' to his father , and then goes further and calls him by her heart's name , Harry . She was there on the battlefield and saw ...
Side 279
... look to his bond . He was wont to lend money for a Christian courtesy ; let him look to his bond . Shylock's answer is one thought , fluent , passionate and structured with a natural rhetoric , the simple repetition of ' Let him look to ...
... look to his bond . He was wont to lend money for a Christian courtesy ; let him look to his bond . Shylock's answer is one thought , fluent , passionate and structured with a natural rhetoric , the simple repetition of ' Let him look to ...
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