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 8
... leading players to stand centre , and commen- tators ( clowns or characters like Iago ) to prowl the edges making quips and asides to the audience . Recent discoveries from the foundations of the Rose suggest that its stage was not a ...
... leading players to stand centre , and commen- tators ( clowns or characters like Iago ) to prowl the edges making quips and asides to the audience . Recent discoveries from the foundations of the Rose suggest that its stage was not a ...
Seite 19
... leading parts for Burbage , and these may therefore reflect the qualities Burbage had as an actor . He must have had a good voice , strong and flexible , and he must have possessed the authority to convince as Othello and Lear . Great ...
... leading parts for Burbage , and these may therefore reflect the qualities Burbage had as an actor . He must have had a good voice , strong and flexible , and he must have possessed the authority to convince as Othello and Lear . Great ...
Seite 76
... leading parts . After 1660 theatre managers , usually actor - managers , took over . Betterton , Garrick , Kemble , Macready , Irving , Beerbohm Tree and their like dominated London theatre for 250 years . They picked the plays , cast ...
... leading parts . After 1660 theatre managers , usually actor - managers , took over . Betterton , Garrick , Kemble , Macready , Irving , Beerbohm Tree and their like dominated London theatre for 250 years . They picked the plays , cast ...
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