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. |
Vyhledávání v knize
Výsledky 1-3 z 89
Strana 147
... sound of the text . And quench its speed i ' the slushy sand 9.3 Why " slushy " sand ? Why not " wet " or " soft " ? The sound sense of " slushy " so perfectly conjures what Browning is talking about that you can almost feel the texture ...
... sound of the text . And quench its speed i ' the slushy sand 9.3 Why " slushy " sand ? Why not " wet " or " soft " ? The sound sense of " slushy " so perfectly conjures what Browning is talking about that you can almost feel the texture ...
Strana 153
... sound . The roots of the sound - sense connection run deep . Linguists have discovered that in many languages unrelated to each other the word for mother has an " m " sound , which requires a formation of the lips identical to that of ...
... sound . The roots of the sound - sense connection run deep . Linguists have discovered that in many languages unrelated to each other the word for mother has an " m " sound , which requires a formation of the lips identical to that of ...
Strana 169
... 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 sense with other approaches . Guidelines ...
... 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 sense with other approaches . Guidelines ...
Běžně se vyskytující výrazy a sousloví
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