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 13
... cast the small parts , made revisions to the text ( suggested by actors , authors , or even the Master of the Revels who licensed each play ) , and may have given further in- struction during performance . At rehearsals and / or perform ...
... cast the small parts , made revisions to the text ( suggested by actors , authors , or even the Master of the Revels who licensed each play ) , and may have given further in- struction during performance . At rehearsals and / or perform ...
Seite 71
... casting for Macbeth ( warriors are supposedly baritones ) . In reaction some recent productions have swung right against individualised appearance by dressing the entire cast identically . This certainly liberates cast and audience from ...
... casting for Macbeth ( warriors are supposedly baritones ) . In reaction some recent productions have swung right against individualised appearance by dressing the entire cast identically . This certainly liberates cast and audience from ...
Seite 76
... casting but , unless they are major stars , have no say in either . We are therefore wholly dependent on the director to pick plays suitable to the available talent , the box office , and the temper of the times ; and then to cast them ...
... casting but , unless they are major stars , have no say in either . We are therefore wholly dependent on the director to pick plays suitable to the available talent , the box office , and the temper of the times ; and then to cast them ...
Inhalt
PREPARATION | 3 |
PERFORMANCE | 5 |
Repertoire Casting and Touring | 10 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
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