Speaking ShakespeareMethuen, 2002 - 355 ページ This text journeys to the heart of speaking and acting Shakespeare. Starting with the givens of speaking verse through to the rehearsal of leading Shakespeare roles from Hamlet, King Lear, Richard III, Macbeth and others, this title unlocks some of the greatest challenges from a playwrite that any actor will encounter. With a mixture of anecdotes and clear instructions starting with the voice and moving on to major textual analysis, this text provides a guide to anyone who wants to start to understand how to act Shakespeare. |
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4 ページ
... engage fully with language before it can engage an audience . They must be able to connect to , experience and imagine the words con- cretely . They need to understand and internalise the physical operation of certain structures in ...
... engage fully with language before it can engage an audience . They must be able to connect to , experience and imagine the words con- cretely . They need to understand and internalise the physical operation of certain structures in ...
15 ページ
... engaged mental and physical presence required in order to survive in heightened exis- tence . This is what the actor needs to engage with the work , and should be the starting point of all rehearsal . The Reasons Most of our bodies ...
... engaged mental and physical presence required in order to survive in heightened exis- tence . This is what the actor needs to engage with the work , and should be the starting point of all rehearsal . The Reasons Most of our bodies ...
217 ページ
... engage and release young actors in Shakespeare : to focus them on the text rather than deny or skid over it . One of the main problems , it seems to me , is that so many actors find it hard to go beyond the two most common kinds of ...
... engage and release young actors in Shakespeare : to focus them on the text rather than deny or skid over it . One of the main problems , it seems to me , is that so many actors find it hard to go beyond the two most common kinds of ...
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多く使われている語句
actor alliteration Antony audience Autolycus beat begin Benedick Berowne blank verse body breath character character's Claudio connected death Demetrius Desdemona Edgar Edmund emotional energy exercise explore eyes Falstaff father feel fool forward givens Gloucester Goneril Hamlet hath hear heart Heightened Circumstances Helena Hermia human husband Iago iambic iambic pentameter imagination irony Isabella journey Juliet King King Lear Lady Macbeth language Lear Leontes listen look Lysander meaning Merchant of Venice mouth move murder muscles Oberon Olivia onomatopoeia Othello pain passion pause Phoebe physical play Posthumus prose Puck push realise rehearsal release reveal rhyming couplet rhythm Richard Romeo Rosalind scene Second Circle sense Shakespeare Shylock Silvius soliloquy sound speak speech stay stop structure syllables tension thee thou thought Titania tongue Tybalt understand Viola vocal voice vowels walk wife Winter's Tale word