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 92
... 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 favourite rehearsal technique for ...
... 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 favourite rehearsal technique for ...
Seite 94
... 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 ...
... 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 ...
Seite 252
... 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 was about a certain number of things , and suddenly you realise that it might be about ...
... 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 was about a certain number of things , and suddenly you realise that it might be about ...
Inhalt
PREPARATION | 3 |
PERFORMANCE | 5 |
Repertoire Casting and Touring | 10 |
Urheberrecht | |
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