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 43
... VERSE There are no fixed rules about this movement , but there's always a reason , and we have to be alive to the development . Some instances are very clear . Beatrice and ... verse , Olivia continues PROSE INTO VERSE 43 Prose into Verse.
... VERSE There are no fixed rules about this movement , but there's always a reason , and we have to be alive to the development . Some instances are very clear . Beatrice and ... verse , Olivia continues PROSE INTO VERSE 43 Prose into Verse.
Seite 44
... verse as she becomes more interested in him / her ( see pp . 201–2 ) . After ' To be or not to be ' Ophelia starts her scene with Hamlet in verse , but Hamlet's sudden attack on ' Ha , ha ! Are you honest ? ' moves them into prose . On ...
... verse as she becomes more interested in him / her ( see pp . 201–2 ) . After ' To be or not to be ' Ophelia starts her scene with Hamlet in verse , but Hamlet's sudden attack on ' Ha , ha ! Are you honest ? ' moves them into prose . On ...
Seite 243
... verse - speaking - that allows you to forget you're speaking verse . The audience need to feel the verse somehow . But at the same time the meaning is just as important . What you need is the ability to blend the two together . I think ...
... verse - speaking - that allows you to forget you're speaking verse . The audience need to feel the verse somehow . But at the same time the meaning is just as important . What you need is the ability to blend the two together . I think ...
Inhalt
PREPARATION | 3 |
PERFORMANCE | 5 |
Repertoire Casting and Touring | 10 |
Urheberrecht | |
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