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
... nature'.14 It seems agreed that actors , however flamboyant , were much better at natural gesture than orators . ' Take care , ' Bulwer warns , ' that variety of gesture may answer the variety of voice and words . ' In other words ...
... nature'.14 It seems agreed that actors , however flamboyant , were much better at natural gesture than orators . ' Take care , ' Bulwer warns , ' that variety of gesture may answer the variety of voice and words . ' In other words ...
Seite 111
... nature ' . ' Be not too tame neither , but let your own discretion be your tutor . ' ' Suit the action to the word , the word to the action . ' The end purpose of playing is ' to hold as ' twere the mirror up to nature ' . Clowns should ...
... nature ' . ' Be not too tame neither , but let your own discretion be your tutor . ' ' Suit the action to the word , the word to the action . ' The end purpose of playing is ' to hold as ' twere the mirror up to nature ' . Clowns should ...
Seite 223
... nature of acting a part , you don't quite know where you are - you're everywhere . You flit about between being the actor in charge of the audience's response , getting a move on , and being in the situation : you can of course have all ...
... nature of acting a part , you don't quite know where you are - you're everywhere . You flit about between being the actor in charge of the audience's response , getting a move on , and being in the situation : you can of course have all ...
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