Speaking ShakespeareMethuen, 2002 - 355 pages 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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Page 86
... beat de dúm into the lines . Allow the dúm to pull you up and out . Don't pull it into you . The iambic is a returning and optimistic energy . • Begin to feel the iambic , but try not to make a word or a line fit the iambic if it doesn ...
... beat de dúm into the lines . Allow the dúm to pull you up and out . Don't pull it into you . The iambic is a returning and optimistic energy . • Begin to feel the iambic , but try not to make a word or a line fit the iambic if it doesn ...
Page 93
... beat the rhythm , it should be connected to the whole of your body , breath and voice . Try to feel it rather than ... beating the iambic and go back to speaking the speech with sense . Change your point of concentration to make the ...
... beat the rhythm , it should be connected to the whole of your body , breath and voice . Try to feel it rather than ... beating the iambic and go back to speaking the speech with sense . Change your point of concentration to make the ...
Page 288
... beating the lines there seems to be an overriding flow to them . Iago has a rhythm that covers the real rough- ness ... Beat out the speech again to examine closely the less obvious discord in the verse . The swell in each line reveals ...
... beating the lines there seems to be an overriding flow to them . Iago has a rhythm that covers the real rough- ness ... Beat out the speech again to examine closely the less obvious discord in the verse . The swell in each line reveals ...
Contents
Foundation Craft | 3 |
The Body | 15 |
The State of Readiness | 23 |
Copyright | |
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Common terms and phrases
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