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 111
... stage is to go deeper into a long thought , which may have many changes of direction . I want you to feel physically that one thought can contain many turns and twists . It can contain one stage of the journey or five stages ; and ...
... stage is to go deeper into a long thought , which may have many changes of direction . I want you to feel physically that one thought can contain many turns and twists . It can contain one stage of the journey or five stages ; and ...
Side 119
... stage by stage . If you can't find your direc- tion in the middle of a structured piece of writing , you have to go back to the beginning of the road : the beginning of the speech . There is always a route to be followed - a road system ...
... stage by stage . If you can't find your direc- tion in the middle of a structured piece of writing , you have to go back to the beginning of the road : the beginning of the speech . There is always a route to be followed - a road system ...
Side 187
... stage direction then is Exit Servant , fol- lowed by Macbeth's awestruck ' Is this a dagger which I see before me ? ' It was undoubtedly Shakespeare's intention that Macbeth should be alone . Unfortunately , however , the servant hadn't ...
... stage direction then is Exit Servant , fol- lowed by Macbeth's awestruck ' Is this a dagger which I see before me ? ' It was undoubtedly Shakespeare's intention that Macbeth should be alone . Unfortunately , however , the servant hadn't ...
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