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 87
... choices and wait for something to emerge organically ; others make rapid choices , discard them and try others . Some actors write down every move and idea , but I find myself doing this less and less : if they seem right we will have ...
... choices and wait for something to emerge organically ; others make rapid choices , discard them and try others . Some actors write down every move and idea , but I find myself doing this less and less : if they seem right we will have ...
Seite 91
... choice . In Orsino's opening line - ' If music be the food of love , play on ' – ' music ' , ' be ' , ' food ' , ' love ' , ' play on ' are all possible emphases . ' Music ' and ' play on ' would seem the natural choices , since ' music ...
... choice . In Orsino's opening line - ' If music be the food of love , play on ' – ' music ' , ' be ' , ' food ' , ' love ' , ' play on ' are all possible emphases . ' Music ' and ' play on ' would seem the natural choices , since ' music ...
Seite 250
... choices does she have ? As a hostage , what other course of action is available to her ? She does not make the heroic choice of self - sacrifice , but should we condemn her for that ? And once you ask some of these questions , it's very ...
... choices does she have ? As a hostage , what other course of action is available to her ? She does not make the heroic choice of self - sacrifice , but should we condemn her for that ? And once you ask some of these questions , it's very ...
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