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 64
... don't know why they were travelling , what their destination was , or why they don't take the next boat home . On the whole we and the audience accept these openings , as we would in a fairy story . The nature of the feud , Oliver's ...
... don't know why they were travelling , what their destination was , or why they don't take the next boat home . On the whole we and the audience accept these openings , as we would in a fairy story . The nature of the feud , Oliver's ...
Seite 87
... don't allow yourself to be pushed on too fast . At a later stage it's easier to speed things up , than to slow them down . Other directors work extremely slowly , but don't think you've got to ' solve ' every moment first time round ...
... don't allow yourself to be pushed on too fast . At a later stage it's easier to speed things up , than to slow them down . Other directors work extremely slowly , but don't think you've got to ' solve ' every moment first time round ...
Seite 225
... don't get the scenes to show their development Lady Macbeth for example [ RSC , 1999 ] disappears from the stage and then reappears mad , and you don't have any solilo- quies to the audience to chart her disintegration . I don't know ...
... don't get the scenes to show their development Lady Macbeth for example [ RSC , 1999 ] disappears from the stage and then reappears mad , and you don't have any solilo- quies to the audience to chart her disintegration . I don't know ...
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