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 26
... story is to shed light on the issue at hand , then the story itself is the action to be played . One must play the story in order to play the motive . In everyday life , stories seem quite often to emerge of their own will , perhaps by ...
... story is to shed light on the issue at hand , then the story itself is the action to be played . One must play the story in order to play the motive . In everyday life , stories seem quite often to emerge of their own will , perhaps by ...
Strana 37
... story . The first section of this book is focused on story sense what an actor does to make sense of a story . - In the next while , it will be instructive to watch people telling stories : what they do in order to convey to others ...
... story . The first section of this book is focused on story sense what an actor does to make sense of a story . - In the next while , it will be instructive to watch people telling stories : what they do in order to convey to others ...
Strana 257
... story . Why is your character telling the story ? As you put your speech together , remind yourself why your character is telling the story and reexamine the question in search of a deeper understanding of the story's relevance . You ...
... story . Why is your character telling the story ? As you put your speech together , remind yourself why your character is telling the story and reexamine the question in search of a deeper understanding of the story's relevance . You ...
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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