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 15
... speak as scholars , or possess a natural volubility ' which enables them to speak well even when they don't understand the text [ never trust that an actor knows what he's saying ] . But through training , the scholar could be taught to ...
... speak as scholars , or possess a natural volubility ' which enables them to speak well even when they don't understand the text [ never trust that an actor knows what he's saying ] . But through training , the scholar could be taught to ...
Seite 43
... speak entirely in prose , though always sharply characterised and laced with verbal wit . Often there is the same structured rhetoric we saw in Falstaff , whether in Dogberry's malapropisms or Bottom's dream . But there's no mistaking ...
... speak entirely in prose , though always sharply characterised and laced with verbal wit . Often there is the same structured rhetoric we saw in Falstaff , whether in Dogberry's malapropisms or Bottom's dream . But there's no mistaking ...
Seite 103
... speak out loud what we're thinking . Thoughts inevitably seem different when put into words . They often need to be edited , developed , re- phrased . Shakespeare was a master at getting his characters to speak their way through this ...
... speak out loud what we're thinking . Thoughts inevitably seem different when put into words . They often need to be edited , developed , re- phrased . Shakespeare was a master at getting his characters to speak their way through this ...
Inhalt
PREPARATION | 3 |
PERFORMANCE | 5 |
Repertoire Casting and Touring | 10 |
Urheberrecht | |
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