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 93
... energy , exactly as the actor who doesn't use the rhythm at all will bore us , lose us and leave us cold . If a whole company of actors speak with the iambic energy , they tell the story of the play with a shared drive and commitment ...
... energy , exactly as the actor who doesn't use the rhythm at all will bore us , lose us and leave us cold . If a whole company of actors speak with the iambic energy , they tell the story of the play with a shared drive and commitment ...
Page 110
... energy of Hermione's need to complete the thought . • Now deliberately stop thinking and you will immediately feel the energy die in you and the text wane . • Or break the thought at the end of each line and it will have the same result ...
... energy of Hermione's need to complete the thought . • Now deliberately stop thinking and you will immediately feel the energy die in you and the text wane . • Or break the thought at the end of each line and it will have the same result ...
Page 217
... energy , which I described earlier as denial and bluff . One trans- lates broadly into devoicing and mumbling ; the other into pushing and shouting . Both undermine the performance of language - based plays because they make it ...
... energy , which I described earlier as denial and bluff . One trans- lates broadly into devoicing and mumbling ; the other into pushing and shouting . Both undermine the performance of language - based plays because they make it ...
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