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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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