Performing ShakespeareNick Hern Books, 2007 - 274 Seiten Drawing on a lifetime's experience of playing Shakespearean roles, Oliver Ford Davies offers practical advice to actors, directors, and drama students on a wide variety of scenes, characters, speeches, and individual lines from almost every one of the plays. An authoritative, hands-on guide through the practical challenges involved in performing Shakespeare. |
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Seite 17
... action to the word , the word to the action ' . We will never be certain how Elizabethan actors pronounced Shakespeare's text , but certain deductions have been made from spellings in folio and quartos , rhymes , and the number of feet ...
... action to the word , the word to the action ' . We will never be certain how Elizabethan actors pronounced Shakespeare's text , but certain deductions have been made from spellings in folio and quartos , rhymes , and the number of feet ...
Seite 109
... action to express the emotion . We've already seen the importance that Elizabethan actors attached to movement and gesture ( see pp . 14–16 ) , and the way that Shakespeare wrote physical action into the text . The tenor of much recent ...
... action to express the emotion . We've already seen the importance that Elizabethan actors attached to movement and gesture ( see pp . 14–16 ) , and the way that Shakespeare wrote physical action into the text . The tenor of much recent ...
Seite 111
... action to the word , the word to the action . ' The end purpose of playing is ' to hold as ' twere the mirror up to nature ' . Clowns should ' speak no more than is set down for them ' . This is all good advice , but it's clearly not a ...
... action to the word , the word to the action . ' The end purpose of playing is ' to hold as ' twere the mirror up to nature ' . Clowns should ' speak no more than is set down for them ' . This is all good advice , but it's clearly not a ...
Inhalt
PREPARATION | 3 |
PERFORMANCE | 5 |
Repertoire Casting and Touring | 10 |
Urheberrecht | |
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acting action actor alliteration appear audience become breath calls cast character clear Cleopatra comedy complete Coriolanus course death direction director Duke early Elizabethan emotional example experience express fact feel final folio follow fools give Globe Hamlet hand heart Henry Iago idea imagination important intention interesting Isabella it's Juliet King Lady language later leading Lear London look lord Macbeth marked meaning Measure mind move nature never night Olivia once Othello pause performance perhaps person play Players plot possible present probably problem production prose question rehearsal rhyme Richard scene seems sense Shakespeare simply soliloquy sometimes sound speak speech stage story suggest talking tell theatre things thought turn understand usually verse Viola voice whole women writing wrote