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 96
... perhaps in shock he can't neatly finish the ten syllables but seeps into an extra two . Thus in one twelve - syllable line there are three exchanges between two people without a pause . Frederick in his next speech gathers some repose ...
... perhaps in shock he can't neatly finish the ten syllables but seeps into an extra two . Thus in one twelve - syllable line there are three exchanges between two people without a pause . Frederick in his next speech gathers some repose ...
Page 245
... Perhaps it's there so he can gather his breath and heart to plead for life - to prepare for the fight of his life . The other important line break is after Claudio's ' To what we fear of death ' . Again there is a pause of two beats ...
... Perhaps it's there so he can gather his breath and heart to plead for life - to prepare for the fight of his life . The other important line break is after Claudio's ' To what we fear of death ' . Again there is a pause of two beats ...
Page 342
... perhaps not even speaking mounted Imogen like a fat pig , and the only opposition he found and she gave was the thing she should have been protecting her the only protection hymen . You can't get more vivid , in your imagination , than ...
... perhaps not even speaking mounted Imogen like a fat pig , and the only opposition he found and she gave was the thing she should have been protecting her the only protection hymen . You can't get more vivid , in your imagination , than ...
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