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 5
... structure we can experience horrors in the knowledge that all will eventually be well . The same applies to rhythm , form and rhyme . They are all tools that help us go deeper into a story , and guide us through it . Structure helps ...
... structure we can experience horrors in the knowledge that all will eventually be well . The same applies to rhythm , form and rhyme . They are all tools that help us go deeper into a story , and guide us through it . Structure helps ...
Side 120
... the propelling structural energy , and it can take many public performances before it is found and released again . Antithesis The use of antithesis in Shakespeare is a common 120 Speaking Shakespeare The Structure of Scenes.
... the propelling structural energy , and it can take many public performances before it is found and released again . Antithesis The use of antithesis in Shakespeare is a common 120 Speaking Shakespeare The Structure of Scenes.
Side 155
... structure and therefore the purpose of the speech . In fact , although prose lacks the obvious verse scaffolding of the iambic rhythm and line endings , it is nonetheless just as carefully struc- tured , and its use by a character or as ...
... structure and therefore the purpose of the speech . In fact , although prose lacks the obvious verse scaffolding of the iambic rhythm and line endings , it is nonetheless just as carefully struc- tured , and its use by a character or as ...
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