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 226
... Steps Most builds are fades , but a build can also happen in steps . A build of this sort intensifies its energy in distinct stages . Typically , each step increases in volume and pitch and tempo . Steps are particularly useful for ...
... Steps Most builds are fades , but a build can also happen in steps . A build of this sort intensifies its energy in distinct stages . Typically , each step increases in volume and pitch and tempo . Steps are particularly useful for ...
Strana 228
... steps . Each sentence should come down a notch in volume and pitch and tempo . Explore making the interval between sentences a fraction longer with each step . Steps bring variety to the shape of your speech . But the more important ...
... steps . Each sentence should come down a notch in volume and pitch and tempo . Explore making the interval between sentences a fraction longer with each step . Steps bring variety to the shape of your speech . But the more important ...
Strana 334
... steps of the layering process . Step 1 : Consider 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 ...
... steps of the layering process . Step 1 : Consider 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 ...
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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