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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... forward placing . The Reasons - You might have a free voice which isn't placed forward , so it stops somewhere in the mouth . You might have a free voice that gets part of the way out , but then falls back into you because it is not ...
... forward placing . The Reasons - You might have a free voice which isn't placed forward , so it stops somewhere in the mouth . You might have a free voice that gets part of the way out , but then falls back into you because it is not ...
47 ページ
... forward . There is a very clear progression : you speak some- thing ; it exists ; you move forward , step by step , word by word , thought by thought and feeling by feeling . To speak is tangibly to shift and change . In this way ...
... forward . There is a very clear progression : you speak some- thing ; it exists ; you move forward , step by step , word by word , thought by thought and feeling by feeling . To speak is tangibly to shift and change . In this way ...
112 ページ
... forward rapidly ; you might have to walk slowly . There could be many twists and turns in one line , or you might experi- ence a huge arc of a thought moving in one smooth direction . • Try to find as many turns as you can . You might ...
... forward rapidly ; you might have to walk slowly . There could be many twists and turns in one line , or you might experi- ence a huge arc of a thought moving in one smooth direction . • Try to find as many turns as you can . You might ...
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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