Nick 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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The speech is also full of changes of direction that give the language great
impulse . These changes come here at the caesura , since the new thought is
often more energised by starting mid - line than it would be at the line - end . A
DIRECTIONS IN THE TEXT Shakespeare built a number of DIRECTIONS into the
spoken text , either to save time in rehearsal or to ensure that revivals and touring
versions stuck to his intentions . In Romeo and Juliet , for instance , we learn ...
Psychologically , emotionally , I felt the energy of those consonants , and it kicked
the speech in a different direction . A little pocket opens up , a bit of air is released
in a corner of a scene that you had glided over before , or had pre - decided ...
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THE ELIZABETHAN ACTOR
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