Nick 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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There are always two energies at work in Shakespeare ' s speeches : the energy
of the whole thought , and the energy of the individual ... This could be the
intended end of her speech , and it presents the actor with an interesting choice .
At the same time it has to follow the speed of thought . Michael Gambon is very
down - to - earth about this process : You have to make it interesting . That ' s
what ( the director ) John Dexter used to say : if you had a long speech , you
couldn ' t ...
Every new proposition starts at the caesura , suggesting that the speech tumbles
out remorselessly and that the ideas have been very much on the Duke ' s mind .
Long and short vowels are alternated to great effect : ' breath ' and ' skyey ...
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THE ELIZABETHAN ACTOR
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