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 14
... offers the stage direction , ' Here they two talk and rail [ jest or rally ] what they list ' , just as they do in pantomime to this day . " Shakespeare disapproved of ad - libbing , if Hamlet is any indication : ' Let those that play ...
... offers the stage direction , ' Here they two talk and rail [ jest or rally ] what they list ' , just as they do in pantomime to this day . " Shakespeare disapproved of ad - libbing , if Hamlet is any indication : ' Let those that play ...
Seite 255
... offer of marriage : did you ever feel a growing attachment during the play , or did the offer come out of left field ... offers ? You don't get the exquisite sensuality of the original words , that you glean from the sounds and shapes in ...
... offer of marriage : did you ever feel a growing attachment during the play , or did the offer come out of left field ... offers ? You don't get the exquisite sensuality of the original words , that you glean from the sounds and shapes in ...
Seite
... 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 . The three core sections of Performing Shakespeare take us ...
... 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 . The three core sections of Performing Shakespeare take us ...
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