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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... mouth or skidded over as though it is meaningless . The word is the character's way out - body , heart and mind meet in the word . Don't travel lightly over the text , or play it nat- uralistically . Actors who think the words are ...
... mouth or skidded over as though it is meaningless . The word is the character's way out - body , heart and mind meet in the word . Don't travel lightly over the text , or play it nat- uralistically . Actors who think the words are ...
58 ページ
... mouth and soft palette . • Try a series of b's , d's , g's , r's and l's . • Chew the face around . • Without voice , mouth a text . Be particularly careful to shape every vowel physically and touch every consonant . Be diligent and ...
... mouth and soft palette . • Try a series of b's , d's , g's , r's and l's . • Chew the face around . • Without voice , mouth a text . Be particularly careful to shape every vowel physically and touch every consonant . Be diligent and ...
79 ページ
... mouth . Here are just some of the richnesses of sound that cram his words : • I am angling now • Though you perceive me not how I give line • Go to , go to ! The short matching vowels in ' Though you ' and ' Go to , go to ' act as a ...
... mouth . Here are just some of the richnesses of sound that cram his words : • I am angling now • Though you perceive me not how I give line • Go to , go to ! The short matching vowels in ' Though you ' and ' Go to , go to ' act as a ...
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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