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. |
Vyhledávání v knize
Výsledky 1-3 z 58
Strana 3
... important to them – a powerful tool . This means they have to explore how they use language and how language affects them . Many of them have to rediscover the potential of language to make concrete and transform inner and outer worlds ...
... important to them – a powerful tool . This means they have to explore how they use language and how language affects them . Many of them have to rediscover the potential of language to make concrete and transform inner and outer worlds ...
Strana 88
... important , if every word is equally stressed or unstressed we will make nonsense of the text . Every note of music is important in a song but some phrases catch and move us more . We are alerted to them by the beat . It is important to ...
... important , if every word is equally stressed or unstressed we will make nonsense of the text . Every note of music is important in a song but some phrases catch and move us more . We are alerted to them by the beat . It is important to ...
Strana 155
... important as verse . The most common advice given by directors is simply to ' Speak it quickly ' . It's true that a degree of speed can release a vernacular rhythm in the actor , but it hardly helps with finding an anchor in the real ...
... important as verse . The most common advice given by directors is simply to ' Speak it quickly ' . It's true that a degree of speed can release a vernacular rhythm in the actor , but it hardly helps with finding an anchor in the real ...
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