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 185
... fact 79 in his 37 lines . It's a virtuoso display of the switch of pace between short and long vowels , and the switch between simple monosyllables and tortured complex images . It's an extraordinary speech , and you have to decide ...
... fact 79 in his 37 lines . It's a virtuoso display of the switch of pace between short and long vowels , and the switch between simple monosyllables and tortured complex images . It's an extraordinary speech , and you have to decide ...
Seite 186
... fact a Christ figure determined to sort things out as humble friar rather than resort to his divine authority . It may be that he decides on a teaching role , to show Isabella , Claudio and Angelo how things can be resolved by active ...
... fact a Christ figure determined to sort things out as humble friar rather than resort to his divine authority . It may be that he decides on a teaching role , to show Isabella , Claudio and Angelo how things can be resolved by active ...
Seite 244
... fact . I think you'll agree that courage is one of the gifts of young actors - well , nerve really . Peter used to say that the duration of the pause would vary in length according to how well I'd earned it . Imagine him trusting me ...
... fact . I think you'll agree that courage is one of the gifts of young actors - well , nerve really . Peter used to say that the duration of the pause would vary in length according to how well I'd earned it . Imagine him trusting me ...
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