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 80
... usually creates a solid , coherent society , which an indeterminate , pick - and - mix setting can undermine . What then is good DESIGN ? Actor Paola Dionisotti believes ' it enables the audience to understand the terms on which the ...
... usually creates a solid , coherent society , which an indeterminate , pick - and - mix setting can undermine . What then is good DESIGN ? Actor Paola Dionisotti believes ' it enables the audience to understand the terms on which the ...
Seite 86
... usually assumes at least a six - week rehearsal period ) . Some directors start with improvisations and playing games ; some think it best to get the cast on their feet as soon as possible ; but most choose to sit round as a company for ...
... usually assumes at least a six - week rehearsal period ) . Some directors start with improvisations and playing games ; some think it best to get the cast on their feet as soon as possible ; but most choose to sit round as a company for ...
Seite 130
... usually relied on their own well - honed comic presence , not always with happy results . Perhaps Will Kemp gave much the same per- formance as Dogberry or Peter , and Shakespeare longed for a clown who would not only stick to the ...
... usually relied on their own well - honed comic presence , not always with happy results . Perhaps Will Kemp gave much the same per- formance as Dogberry or Peter , and Shakespeare longed for a clown who would not only stick to the ...
Inhalt
PREPARATION | 3 |
PERFORMANCE | 5 |
Repertoire Casting and Touring | 10 |
Urheberrecht | |
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