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 104
... reason . The perfect iambic pentameter line starts with an unstressed syllable and ends with a stressed . But when characters lose their flow and composure , the line will often start stressed and end unstressed . Likewise , it's not an ...
... reason . The perfect iambic pentameter line starts with an unstressed syllable and ends with a stressed . But when characters lose their flow and composure , the line will often start stressed and end unstressed . Likewise , it's not an ...
Side 198
... reason to be fond of grief . ( King John , III.iv ) Play this , imagining grief as a real person who walks into your room , and turning into your lost child : by connecting and anchoring yourself in the poetic language you will ...
... reason to be fond of grief . ( King John , III.iv ) Play this , imagining grief as a real person who walks into your room , and turning into your lost child : by connecting and anchoring yourself in the poetic language you will ...
Side 348
... reason and irony . Her reason , she explains , makes her want to kill herself . With madness she could forget , or be satisfied with a rag doll for a son . I am not mad ; too well , too well I feel The different plague of each calamity ...
... reason and irony . Her reason , she explains , makes her want to kill herself . With madness she could forget , or be satisfied with a rag doll for a son . I am not mad ; too well , too well I feel The different plague of each calamity ...
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