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 16
... hear what Juliet imagines hearing . What is Juliet's physical response to this sound from the waist up ? Explore . Images are miniature scenes . They not only reveal in a fresh , evocative way precisely what a character is experiencing ...
... hear what Juliet imagines hearing . What is Juliet's physical response to this sound from the waist up ? Explore . Images are miniature scenes . They not only reveal in a fresh , evocative way precisely what a character is experiencing ...
Strana 146
... hear the story . - - Sensuousness Sound speaks to the senses , and it has an effect on them . Audiences do not hear sensuously spoken language so much as they experience it . - Robert Browning's " Meeting at Night " is remarkable for ...
... hear the story . - - Sensuousness Sound speaks to the senses , and it has an effect on them . Audiences do not hear sensuously spoken language so much as they experience it . - Robert Browning's " Meeting at Night " is remarkable for ...
Strana 403
... hear what is most important . Finding the right emphases in a Shakespeare speech is like focusing a lens : what was blurry becomes crystal clear . All this must have been as true in Shakespeare's day as now . Structuring the sense of ...
... hear what is most important . Finding the right emphases in a Shakespeare speech is like focusing a lens : what was blurry becomes crystal clear . All this must have been as true in Shakespeare's day as now . Structuring the sense 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