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. |
Im Buch
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Seite 98
... SHAPE Each play , scene and speech contains a story , and the actor needs to find the SHAPE of that story . Most speeches have a headline prompted by the previous speaker ( Portia's ' The quality of mercy is not strained ' ; Lear's ' O ...
... SHAPE Each play , scene and speech contains a story , and the actor needs to find the SHAPE of that story . Most speeches have a headline prompted by the previous speaker ( Portia's ' The quality of mercy is not strained ' ; Lear's ' O ...
Seite 101
... shape to them that feels right for you . Your biggest ally is the language . This is not unique to Shakespeare . As Sam Mendes says about Pinter : ' Each character has shape , each line has a shape , the words have shape . If an actor ...
... shape to them that feels right for you . Your biggest ally is the language . This is not unique to Shakespeare . As Sam Mendes says about Pinter : ' Each character has shape , each line has a shape , the words have shape . If an actor ...
Seite 104
... shape of the speech may not be clear at first sight , but there is a shape to be found . Shakespeare is inside the mind of the Brutus he has imagined , and is instinctively arguing the way his Brutus would . The actor in turn has to get ...
... shape of the speech may not be clear at first sight , but there is a shape to be found . Shakespeare is inside the mind of the Brutus he has imagined , and is instinctively arguing the way his Brutus would . The actor in turn has to get ...
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