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 237
... sometimes necessary , but only sometimes . For the most part , speeches should flow continuously . You should be biased in favor of keeping language and action moving forward . All pauses should be challenged to see if they are really ...
... sometimes necessary , but only sometimes . For the most part , speeches should flow continuously . You should be biased in favor of keeping language and action moving forward . All pauses should be challenged to see if they are really ...
Strana 256
... Sometimes a speech comes all at once and needs little reworking every artist is grateful to be inspired . Sometimes it comes in bits and pieces , fits and starts . Many a good rehearsal process , after weeks of exploration , has created ...
... Sometimes a speech comes all at once and needs little reworking every artist is grateful to be inspired . Sometimes it comes in bits and pieces , fits and starts . Many a good rehearsal process , after weeks of exploration , has created ...
Strana 397
The Actor as Storyteller Tim McDonough. -ed This suffix is sometimes voiced as a syllable ( in some texts this is marked -èd ) and sometimes slurred ( in which case it may be printed as ' d , as in " tripp'd , ” “ call'd ” ) . In texts ...
The Actor as Storyteller Tim McDonough. -ed This suffix is sometimes voiced as a syllable ( in some texts this is marked -èd ) and sometimes slurred ( in which case it may be printed as ' d , as in " tripp'd , ” “ call'd ” ) . In texts ...
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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