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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Výsledky 1-3 z 59
Strana 84
... iambic and the stress falls on the second : de dúm . The iambic can cut across two words - ' to be ' - or be lodged within one - ' disgráce ' . A Shakespearean verse line generally has five iambics within it - consequently ten syllables ...
... iambic and the stress falls on the second : de dúm . The iambic can cut across two words - ' to be ' - or be lodged within one - ' disgráce ' . A Shakespearean verse line generally has five iambics within it - consequently ten syllables ...
Strana 90
... iambic is optimistic and curious . The reverse is pessimistic and apathetic . As you climb on to and stay with the iambic , you are moving on a living energy that engages not only your voice and speech but your head and heart . It is a ...
... iambic is optimistic and curious . The reverse is pessimistic and apathetic . As you climb on to and stay with the iambic , you are moving on a living energy that engages not only your voice and speech but your head and heart . It is a ...
Strana 93
... iambic doesn't fit or is irregular , always take note of the content . Something is happening . Don't try to force ... iambic and go back to speaking the speech with sense . Change your point of concentration to make the words work , and ...
... iambic doesn't fit or is irregular , always take note of the content . Something is happening . Don't try to force ... iambic and go back to speaking the speech with sense . Change your point of concentration to make the words work , and ...
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