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 42
... sounds fuzzy and makes it extremely hard for the speaker to engage emotionally , access range or define a word . This habit is often adopted by deniers and can sound sentimental or self - centred . It is sometimes used to try and ...
... sounds fuzzy and makes it extremely hard for the speaker to engage emotionally , access range or define a word . This habit is often adopted by deniers and can sound sentimental or self - centred . It is sometimes used to try and ...
Side 48
... sound forward . • When you feel the sound forward , change from an ' oo ' into an ' ah ' - but be careful not to pull away . ' Ah ' is an emotional and committed sound , which encourages us to deny it and pull it back . Also , avoid ...
... sound forward . • When you feel the sound forward , change from an ' oo ' into an ' ah ' - but be careful not to pull away . ' Ah ' is an emotional and committed sound , which encourages us to deny it and pull it back . Also , avoid ...
Side 83
... sound and physical texture of the words he chooses reinforce his meaning so that we feel it in our mouths and ears . Each observation is woven together with subtle alliteration or asso- nance until the final stage of life in the last ...
... sound and physical texture of the words he chooses reinforce his meaning so that we feel it in our mouths and ears . Each observation is woven together with subtle alliteration or asso- nance until the final stage of life in the last ...
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