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. |
Im Buch
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Seite 144
... IMAGINATION , ENERGY , INTERPLAY AND ENJOYMENT What is the most important muscle in the body ? According to the great mime teacher Lecoq , it's the IMAGINATION . It may seem unnecessary emphasising the imagination to actors , since we ...
... IMAGINATION , ENERGY , INTERPLAY AND ENJOYMENT What is the most important muscle in the body ? According to the great mime teacher Lecoq , it's the IMAGINATION . It may seem unnecessary emphasising the imagination to actors , since we ...
Seite 145
... imagination , which longs to communicate with others . Words are one means of doing this . But no word is ever properly understood unless it has been spontaneously created by the imagination ... What I love to see is the actor's imagination ...
... imagination , which longs to communicate with others . Words are one means of doing this . But no word is ever properly understood unless it has been spontaneously created by the imagination ... What I love to see is the actor's imagination ...
Seite 162
... IMAGINATION , ENERGY AND INTERPLAY Plays in the theatre communicate at a deeper level than words and actions , what ... IMAGINATION not just through the text but through the total performance . It's finally down to the actor . If the ...
... IMAGINATION , ENERGY AND INTERPLAY Plays in the theatre communicate at a deeper level than words and actions , what ... IMAGINATION not just through the text but through the total performance . It's finally down to the actor . If the ...
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