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 186
... Acceleration and Deceleration If your speech is a sequence of different rhythms , a craft question arises : how to ... acceleration ( adapting the musical term for quickening the pace , accelerando ) ; let's call the opposite , fading ...
... Acceleration and Deceleration If your speech is a sequence of different rhythms , a craft question arises : how to ... acceleration ( adapting the musical term for quickening the pace , accelerando ) ; let's call the opposite , fading ...
Strana 187
... Accelerating affects performers and spectators quite physically . The power to excite inherent in acceleration and the calming effect of deceleration - are strongly in evidence in Wesley's speech about his parents ' argument . - Read ...
... Accelerating affects performers and spectators quite physically . The power to excite inherent in acceleration and the calming effect of deceleration - are strongly in evidence in Wesley's speech about his parents ' argument . - Read ...
Strana 199
... acceleration and your deceleration so that you don't reach the final speed or slowness until the very last words of ... acceleration is faster toward the end than at the beginning . Your acceleration should begin slowly , the rate of ...
... acceleration and your deceleration so that you don't reach the final speed or slowness until the very last words of ... acceleration is faster toward the end than at the beginning . Your acceleration should begin slowly , the rate of ...
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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