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
... 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 , ' suit the action ...
... 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 , ' suit the action ...
Seite 56
... seems that printers often used colons and semi - colons where we would use full stops . Interestingly , this may reflect the author's or actor's desire to present the speech as a fluid , sustained unit , and cut down on pauses and heavy ...
... seems that printers often used colons and semi - colons where we would use full stops . Interestingly , this may reflect the author's or actor's desire to present the speech as a fluid , sustained unit , and cut down on pauses and heavy ...
Seite 188
... seems to me to be best played as a sudden inspiration , not a long - held plan ( though Trevor Nunn's production ... seems lodged in comic , scheming mode , and , though this may seem a difficult transition , I think it helps to see it ...
... seems to me to be best played as a sudden inspiration , not a long - held plan ( though Trevor Nunn's production ... seems lodged in comic , scheming mode , and , though this may seem a difficult transition , I think it helps to see it ...
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