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. |
From inside the book
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Page 6
... speak you will need your emotions to change as the music does . Characters in Shakespeare never get emotionally stuck , like needles on vinyl records . On the contrary , Shakespeare requires you actively to transform your emotions as ...
... speak you will need your emotions to change as the music does . Characters in Shakespeare never get emotionally stuck , like needles on vinyl records . On the contrary , Shakespeare requires you actively to transform your emotions as ...
Page 47
... 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 , Shakespeare's characters speak themselves into ...
... 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 , Shakespeare's characters speak themselves into ...
Page 58
... speak the first part of the line quickly and the second slowly . You will not do so if you speak it clearly . You might well if you speak it sloppily . The Work • Work all the muscles of articulation with breath support , an open throat ...
... speak the first part of the line quickly and the second slowly . You will not do so if you speak it clearly . You might well if you speak it sloppily . The Work • Work all the muscles of articulation with breath support , an open throat ...
Contents
Foundation Craft | 3 |
The Body | 15 |
The State of Readiness | 23 |
Copyright | |
21 other sections not shown
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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