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 19
... sense of humour , and perhaps with Benedick and Malvolio . In contrast to violent energy , Burbage must have had a sense of introspection , an ability to handle Macbeth's and Brutus ' soliloquies.18 Shakespeare may have been making ...
... sense of humour , and perhaps with Benedick and Malvolio . In contrast to violent energy , Burbage must have had a sense of introspection , an ability to handle Macbeth's and Brutus ' soliloquies.18 Shakespeare may have been making ...
Seite 35
... sense of one line runs directly on into the next this is called ENJAMBMENT ( from the French for ' stride over ' ) . This raises the much debated question of END - STOPPING . Some maintain that the end of each line should be marked ...
... sense of one line runs directly on into the next this is called ENJAMBMENT ( from the French for ' stride over ' ) . This raises the much debated question of END - STOPPING . Some maintain that the end of each line should be marked ...
Seite 45
... sense of words . ' Opinion ' in Troilus and Cressida , and ' become ' in Antony and Cleopatra recur again and again , and take on many shades of meaning . Thersites exposes verbal disguise : ' love ' is lust , ' fame ' and ' honour ...
... sense of words . ' Opinion ' in Troilus and Cressida , and ' become ' in Antony and Cleopatra recur again and again , and take on many shades of meaning . Thersites exposes verbal disguise : ' love ' is lust , ' fame ' and ' honour ...
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