Performing ShakespeareDrawing 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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2 SHAKESPEARE'S LANGUAGE The life of the plays is in the language . Richard Eyre INTRODUCTION 11 we have of Shakespeare the dramatist are the playtexts . A " or where he wrote the plays , how long they took him , how much they were ...
2 SHAKESPEARE'S LANGUAGE The life of the plays is in the language . Richard Eyre INTRODUCTION 11 we have of Shakespeare the dramatist are the playtexts . A " or where he wrote the plays , how long they took him , how much they were ...
89 ページ
We now live in a world of such noise and dissonance that language is barely heard or , when it is , twenty - four - hour television and radio has devalued its expression . In the world of commercial enterprise such highly emotive words ...
We now live in a world of such noise and dissonance that language is barely heard or , when it is , twenty - four - hour television and radio has devalued its expression . In the world of commercial enterprise such highly emotive words ...
264 ページ
Two : SHAKESPEARE'S LANGUAGE Frank Kermode , Shakespeare's Language , London : Allen Lane , 2000 is fascinating and very readable . Two key works are John Barton , Playing Shakespeare , London : Methuen , 1984 ; and Peter Hall ...
Two : SHAKESPEARE'S LANGUAGE Frank Kermode , Shakespeare's Language , London : Allen Lane , 2000 is fascinating and very readable . Two key works are John Barton , Playing Shakespeare , London : Methuen , 1984 ; and Peter Hall ...
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目次
THE ELIZABETHAN ACTOR 3 The Roots of Elizabethan Theatre | 3 |
The Actors | 5 |
The Theatres | 7 |
著作権 | |
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多く使われている語句
acting action actor alliteration appear audience become breath calls cast character clear Cleopatra comedy complete Coriolanus course death direction director Duke Elizabethan emotional example experience express fact feel final folio follow fools give Globe Hamlet hand heart Henry Iago idea imagination important intention interesting irony Isabella it's Juliet King Lady language later leading Lear 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 tragedies turn understand usually verse Viola voice whole women writing wrote