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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Výsledky 1-3 z 81
Strana 24
... possible , for example , for a character to repress the pain of a story ; and how s / he feels about what happened in the past may have changed . To the extent that emotions are relevant to the story and they are only part of the ...
... possible , for example , for a character to repress the pain of a story ; and how s / he feels about what happened in the past may have changed . To the extent that emotions are relevant to the story and they are only part of the ...
Strana 59
... possible for you to play the events as if they were really happening . To make the events happen now , in the theatrical present , is the whole point of telling the story . Your goal is to give us the events themselves . You should ...
... possible for you to play the events as if they were really happening . To make the events happen now , in the theatrical present , is the whole point of telling the story . Your goal is to give us the events themselves . You should ...
Strana 334
... possible opposites . You have already explored several opposites . You may wish to continue working with these , though perhaps in a different combination than you had first imagined . You might , for example , pair the energy of your ...
... possible opposites . You have already explored several opposites . You may wish to continue working with these , though perhaps in a different combination than you had first imagined . You might , for example , pair the energy of your ...
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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