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 17
... physical states are completely inappropriate . Today , unfortunately , the fashion is ' cool ' : a physical statement of indifference or , at worst , apparent insolence . In ' cool ' everything pas- sionate or meaningful is being ...
... physical states are completely inappropriate . Today , unfortunately , the fashion is ' cool ' : a physical statement of indifference or , at worst , apparent insolence . In ' cool ' everything pas- sionate or meaningful is being ...
Side 28
... physical stance . I am not suggesting you have to speak Shakespeare in a perfectly centred way , but I do believe that the state of readiness is necessary to attempt his plays and be truthful to them . When your body has internalised ...
... physical stance . I am not suggesting you have to speak Shakespeare in a perfectly centred way , but I do believe that the state of readiness is necessary to attempt his plays and be truthful to them . When your body has internalised ...
Side 78
... physical understanding of language and its meaning . Words that shock us only do so because they feel as they mean when we speak them . Words that describe something without being onomatopoeic distance speaker and listener from the real ...
... physical understanding of language and its meaning . Words that shock us only do so because they feel as they mean when we speak them . Words that describe something without being onomatopoeic distance speaker and listener from the real ...
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