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 17
... folio and quartos , rhymes , and the number of feet and the rhythms of the iambic pentameter . The general tendency was towards speed and economy , and experiments at the new Globe have shown that verbal contractions can help actors to ...
... folio and quartos , rhymes , and the number of feet and the rhythms of the iambic pentameter . The general tendency was towards speed and economy , and experiments at the new Globe have shown that verbal contractions can help actors to ...
Seite 55
... folio are often reveal- ing about cuts and rewrites , particularly in the case of King Lear , where the folio cuts some 300 lines that appear in the quarto , but adds a further 100. The folio texts may represent Shake- speare's second ...
... folio are often reveal- ing about cuts and rewrites , particularly in the case of King Lear , where the folio cuts some 300 lines that appear in the quarto , but adds a further 100. The folio texts may represent Shake- speare's second ...
Seite 56
... folio punctuation , the only text of Macbeth we have , to indicate how he thinks the speech should be phrased . Some actors and directors have reacted by claiming that the folio must be the ultimate authority , but this is clearly ...
... folio punctuation , the only text of Macbeth we have , to indicate how he thinks the speech should be phrased . Some actors and directors have reacted by claiming that the folio must be the ultimate authority , but this is clearly ...
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