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 89
... experience that they are barely aware of . In this the actor is the go - between and the enabler . If the actor commits to the language with passion , it has a transforming effect both on the actor and the hearer . It's hard work . It ...
... experience that they are barely aware of . In this the actor is the go - between and the enabler . If the actor commits to the language with passion , it has a transforming effect both on the actor and the hearer . It's hard work . It ...
Seite 148
... experience what everyone else is doing : Gertrude has to wait on Hamlet and Claudius , the Nurse on Juliet , Belch on Aguecheek , Petruchio on Kate and vice - versa . Characters --- largely reveal themselves by how they are with other ...
... experience what everyone else is doing : Gertrude has to wait on Hamlet and Claudius , the Nurse on Juliet , Belch on Aguecheek , Petruchio on Kate and vice - versa . Characters --- largely reveal themselves by how they are with other ...
Seite 162
... experience the first time I saw the Moscow Art Theatre perform Three Sisters . Great plays unlock the IMAGINATION not just through the text but through the total performance . It's finally down to the actor . If the play has stirred our ...
... experience the first time I saw the Moscow Art Theatre perform Three Sisters . Great plays unlock the IMAGINATION not just through the text but through the total performance . It's finally down to the actor . If the play has stirred our ...
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