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 102
... talking directly to the audience , talking to herself , or talking with some acknowledgement that the audi- ence are overhearers . The choice doesn't have to be absolute , it's possible to pass back and forth among them . When it's ...
... talking directly to the audience , talking to herself , or talking with some acknowledgement that the audi- ence are overhearers . The choice doesn't have to be absolute , it's possible to pass back and forth among them . When it's ...
Seite 220
... talking to in a soliloquy ? I would like at one point during the performance to look at every single member of the audience , and when I was at The Other Place [ the RSC's studio theatre in Stratford ] I made sure that I consciously did ...
... talking to in a soliloquy ? I would like at one point during the performance to look at every single member of the audience , and when I was at The Other Place [ the RSC's studio theatre in Stratford ] I made sure that I consciously did ...
Seite 246
... talking to the audience in the soliloquies ? Completely . I find it difficult to do soliloquies unless I am look- ing at someone and see face . Sometimes I would ask for the house lights to be touched up a few points so that I could see ...
... talking to the audience in the soliloquies ? Completely . I find it difficult to do soliloquies unless I am look- ing at someone and see face . Sometimes I would ask for the house lights to be touched up a few points so that I could see ...
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