Speaking ShakespeareMethuen, 2002 - Počet stran: 355 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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Strana 218
... Second Circle is centre , is open , is strong , is vulnerable ; it is not random . In the Second Circle we speak to connect . We are prepared to listen ; our voices are open and placed as we really do want them to reach someone . It is ...
... Second Circle is centre , is open , is strong , is vulnerable ; it is not random . In the Second Circle we speak to connect . We are prepared to listen ; our voices are open and placed as we really do want them to reach someone . It is ...
Strana 219
... Second on the way from the First , and if at this point you caught sight of something in the room that interested you , you would certainly drop into it . • Sit in front of a mirror and play with the circles - First , Third , Second ...
... Second on the way from the First , and if at this point you caught sight of something in the room that interested you , you would certainly drop into it . • Sit in front of a mirror and play with the circles - First , Third , Second ...
Strana 221
... Second , change the circle you are listening in . • Realise how annoying it is to listen attentively in Second when someone is addressing you in First or Third . Equally true , if you are speaking to someone in Second and they are ...
... Second , change the circle you are listening in . • Realise how annoying it is to listen attentively in Second when someone is addressing you in First or Third . Equally true , if you are speaking to someone in Second and they are ...
Obsah
Foundation Craft | 3 |
The Body | 15 |
The State of Readiness | 23 |
Autorská práva | |
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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