Acting Narrative Speeches: The Actor as StorytellerMeriwether Pub., 2002 - Počet stran: 445 Narrative speeches, both classical and contemporary, are used to reveal how an actor can discover the inherent energy, the essence and the subtextual colours of every word and sentences of a dramatic speech. This book clearly demonstrates that any memorable performance needs far more than acting technique alone. In eighteen chapters actor/director/teacher McDonough defines in depth how an actor can find the often overlooked subtleties that create characters with dimension and moments of heightened reality. |
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Strana 90
... Note that this change , which seems quite natural , is possible only because you are treating this text as dialog . I kept begging them to tell me where my son was . ( Excerpt 10 , Appendix A ) 5.29 Speak this line without any sense of ...
... Note that this change , which seems quite natural , is possible only because you are treating this text as dialog . I kept begging them to tell me where my son was . ( Excerpt 10 , Appendix A ) 5.29 Speak this line without any sense of ...
Strana 97
... Note how doing this helps you to get inside the moment , and how it helps to make the moment sensuously real for the audience . rage ( a residual , after - the - fight rage ) breathless faint neat and trimly dressed fresh slovenly ...
... Note how doing this helps you to get inside the moment , and how it helps to make the moment sensuously real for the audience . rage ( a residual , after - the - fight rage ) breathless faint neat and trimly dressed fresh slovenly ...
Strana 169
... Note the expressive value of bleeding sound sense into adjacent language . • Is there a section in your speech that might be developed as a soundscape , a sustained bit of sound expressiveness ? • Note opportunities to combine sound ...
... Note the expressive value of bleeding sound sense into adjacent language . • Is there a section in your speech that might be developed as a soundscape , a sustained bit of sound expressiveness ? • Note opportunities to combine sound ...
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acceleration acting action actor Agamemnon Appendix Athi audience beginning body build caesura central moment chair character character's choices circumstances climax Clytemnestra conjure create deceleration develop draft E.E. Cummings emotional emphasize endwords energy example explore expressive eyes fade father feel feet from/to gesture Gus Edwards Hamlet hand happened hear Hotspur I'm Not Rappaport Imagine implicit scene impulses indirect quote inner conflict inside the story Juliet language layered look metaphor moments Monologues move movement narrative speeches onomatopoeia onomatopoetic opposites performance phrase physical play point of view possible pullback Puntila rehearsal reliving rhythm rhythmic Romeo Romeo and Juliet Sam Shepard seam sentence set the scene Shakespeare shape single image slow snake handling sound sense space specific spondee stage syllables talk tell the story telling a story theater Titania transition trochee Tybalt voice Wesley Weston words