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 14
... VOICE , GESTURE AND ACCENT The Elizabethans had a strong belief in truthful acting ; ' lively and naturally ' were the watchwords . The player who ' affects grossly ' is ... voice neither 14 THE ELIZABETHAN ACTOR Voice, Gesture and Accent.
... VOICE , GESTURE AND ACCENT The Elizabethans had a strong belief in truthful acting ; ' lively and naturally ' were the watchwords . The player who ' affects grossly ' is ... voice neither 14 THE ELIZABETHAN ACTOR Voice, Gesture and Accent.
Seite 83
... VOICE AND SONNETS It's important to get the VOICE into shape . We may have to do seven hours ' rehearsal in a day , going over and over long scenes , and the voice needs to be able to cope . So get used to warming the voice up each day ...
... VOICE AND SONNETS It's important to get the VOICE into shape . We may have to do seven hours ' rehearsal in a day , going over and over long scenes , and the voice needs to be able to cope . So get used to warming the voice up each day ...
Seite 96
... VOICE AND MOVEMENT The actor's instrument is his VOICE and body , and these have to be kept in shape during rehearsal . In most Shakespeare rehearsals some attention is given to voice and movement ses- sions . If they're not provided ...
... VOICE AND MOVEMENT The actor's instrument is his VOICE and body , and these have to be kept in shape during rehearsal . In most Shakespeare rehearsals some attention is given to voice and movement ses- sions . If they're not provided ...
Inhalt
PREPARATION | 3 |
PERFORMANCE | 5 |
Repertoire Casting and Touring | 10 |
Urheberrecht | |
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