Acting Narrative Speeches: The Actor as StorytellerMeriwether Pub., 2002 - 445 pages Narrative speeches, both classical and contemporary, are used to reveal how an actor can discover the inherent energy, the essence and the subtextual colours of every word and sentences of a dramatic speech. This book clearly demonstrates that any memorable performance needs far more than acting technique alone. In eighteen chapters actor/director/teacher McDonough defines in depth how an actor can find the often overlooked subtleties that create characters with dimension and moments of heightened reality. |
From inside the book
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Page 25
... character's story , with the same attention to narrative detail , and thereby elicit fresh emotions which are both yours and the character's ? Making connections between your own life experience and that of a character is , of course ...
... character's story , with the same attention to narrative detail , and thereby elicit fresh emotions which are both yours and the character's ? Making connections between your own life experience and that of a character is , of course ...
Page 302
... character's true identity ? A character may hide not just a secret , but a secret self . In such a case , your character's identity may become an opposites issue . - When a character puts on a mask simply to hide his or her true self ...
... character's true identity ? A character may hide not just a secret , but a secret self . In such a case , your character's identity may become an opposites issue . - When a character puts on a mask simply to hide his or her true self ...
Page 306
... character's objective may be in conflict with an opposite objective , whether conscious or “ unconscious . " to get him to leave to force her to confess to get him to stay - to get her to deny she did it to make you choose for yourself ...
... character's objective may be in conflict with an opposite objective , whether conscious or “ unconscious . " to get him to leave to force her to confess to get him to stay - to get her to deny she did it to make you choose for yourself ...
Common terms and phrases
acceleration acting action actor Agamemnon Appendix Athi audience beginning body build caesura central moment chair character character's choices circumstances climax Clytemnestra conjure create deceleration develop draft E.E. Cummings emotional emphasize endwords energy example explore expressive eyes fade father feel feet from/to gesture Gus Edwards Hamlet hand happened hear Hotspur I'm Not Rappaport Imagine implicit scene impulses indirect quote inner conflict inside the story Juliet language layered look metaphor moments Monologues move movement narrative speeches onomatopoeia onomatopoetic opposites performance phrase physical play point of view possible pullback Puntila rehearsal reliving rhythm rhythmic Romeo Romeo and Juliet Sam Shepard seam sentence set the scene Shakespeare shape single image slow snake handling sound sense space specific spondee stage syllables talk tell the story telling a story theater Titania transition trochee Tybalt voice Wesley Weston words