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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... realised that such knowledge might be necessary . Few of those actors had ever played Shakespeare as part of their training ; and if they had , it seemed to have involved little or no discus- sion of the mechanics of Shakespeare's ...
... realised that such knowledge might be necessary . Few of those actors had ever played Shakespeare as part of their training ; and if they had , it seemed to have involved little or no discus- sion of the mechanics of Shakespeare's ...
Side 3
... realise and release such physical and sensual texts . - First year work on language sensitises the students to structure , rhythm , imagery and poetry . Language must be important to them – a powerful tool . This means they have to ...
... realise and release such physical and sensual texts . - First year work on language sensitises the students to structure , rhythm , imagery and poetry . Language must be important to them – a powerful tool . This means they have to ...
Side 210
... realise that it is about the conflict of personalities between a very macho Hotspur and an effeminate lord sent by ... realising that it is simply about one person's gut reaction to another . One depressing aspect of war is that it is so ...
... realise that it is about the conflict of personalities between a very macho Hotspur and an effeminate lord sent by ... realising that it is simply about one person's gut reaction to another . One depressing aspect of war is that it is so ...
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