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 45
... direct and the complex , sometimes in the same speech . Hamlet , after his banishment , questions : Now , whether it be Bestial oblivion , or some craven scruple Of thinking too precisely on th'event - A thought which , quartered , hath ...
... direct and the complex , sometimes in the same speech . Hamlet , after his banishment , questions : Now , whether it be Bestial oblivion , or some craven scruple Of thinking too precisely on th'event - A thought which , quartered , hath ...
Seite 102
... direct to camera ) . Who is the character alone on stage talking to ? There are various possibilities . Shakespeare sometimes provides a person , Mark Antony talking to the murdered Caesar , Juliet to the absent Romeo , Malvolio to the ...
... direct to camera ) . Who is the character alone on stage talking to ? There are various possibilities . Shakespeare sometimes provides a person , Mark Antony talking to the murdered Caesar , Juliet to the absent Romeo , Malvolio to the ...
Seite 199
... direct , even prosaic at times , though not without imagery - ' And though that nature with a beauteous wall / Doth oft close in pollution ' ( 45-6 ) - and even ends with a rhyming couplet . It has a business - like , no- nonsense air ...
... direct , even prosaic at times , though not without imagery - ' And though that nature with a beauteous wall / Doth oft close in pollution ' ( 45-6 ) - and even ends with a rhyming couplet . It has a business - like , no- nonsense air ...
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