Freeing Shakespeare's Voice: The Actor's Guide to Talking the TextTheatre Communications Group, 1993 M01 1 - 224 páginas A passionate exploration of the process of comprehending and speaking the words of William Shakespeare. Detailing exercises and analyzing characters' speech and rhythms, Linklater provides the tools to increase understanding and make Shakespeare's words one's own. |
Dentro del libro
Resultados 1-5 de 89
Página vii
... Speaking Chapter Five: Figures of Speech Interlude: Stage Directions; Double Meanings; Bawdry; Thee's, Thou's and You's THE FORM: VERSE AND PROSE Chapter Six: Iambic Pentameter Chapter Seven: Rhyme Chapter Eight: Line-Endings Chapter ...
... Speaking Chapter Five: Figures of Speech Interlude: Stage Directions; Double Meanings; Bawdry; Thee's, Thou's and You's THE FORM: VERSE AND PROSE Chapter Six: Iambic Pentameter Chapter Seven: Rhyme Chapter Eight: Line-Endings Chapter ...
Página 1
... speaking Shakespeare is experiential rather than prescriptive. There are books on speaking Shakespeare which every serious actor should read and which are by no means replaced by this one. In this book the actor will find an organic ...
... speaking Shakespeare is experiential rather than prescriptive. There are books on speaking Shakespeare which every serious actor should read and which are by no means replaced by this one. In this book the actor will find an organic ...
Página 2
... Shakespeare & Company; to the actors and teachers of Shakespeare & Company (specifically, I owe thanks to Jonathan Epstein for information on “un" and to John Hadden for inspiration on ... speaking Shakespeare's text. It is often PROLOGUE.
... Shakespeare & Company; to the actors and teachers of Shakespeare & Company (specifically, I owe thanks to Jonathan Epstein for information on “un" and to John Hadden for inspiration on ... speaking Shakespeare's text. It is often PROLOGUE.
Página 3
... speaking Shakespeare's text. It is often the most sensitive and talented actors who confess to being terrified of playing Shakespeare and this may well be because they have a strong sense of “truth” in their acting which depends on ...
... speaking Shakespeare's text. It is often the most sensitive and talented actors who confess to being terrified of playing Shakespeare and this may well be because they have a strong sense of “truth” in their acting which depends on ...
Página 4
... speaking manual. It aims to recondition both mind and body so that the voice can express the visceral and spiritual urgency that was its subject matter in Shakespeare's day. The voice mechanism is in the body. The mechanics of voice ...
... speaking manual. It aims to recondition both mind and body so that the voice can express the visceral and spiritual urgency that was its subject matter in Shakespeare's day. The voice mechanism is in the body. The mechanics of voice ...
Contenido
1 | |
3 | |
9 | |
11 | |
30 | |
3 Words Into Phrases | 45 |
4 Organically Cosmically and Etymologically Speaking | 57 |
5 Figures of Speech | 79 |
6 The Iambic Pentameter | 121 |
7 Rhyme | 141 |
8 Lineendings | 153 |
9 Verse and Prose Alternation | 173 |
THE CONTEXTURE | 183 |
10 Todays Actor in Shakespeares World | 187 |
11 Shakespeares Voice in Todays World | 193 |
12 Which Voice? The Texts | 204 |
Stage Directions Double Meanings Bawdry Thees Thous and Yous | 99 |
Verse and Prose | 119 |
13 Whose Voice? The Man | 209 |
Otras ediciones - Ver todas
Freeing Shakespeare's Voice: The Actor's Guide to Talking the Text Kristin Linklater Vista previa limitada - 1992 |
Freeing Shakespeare's Voice: The Actor's Guide to Talking the Text Kristin Linklater Sin vista previa disponible - 2010 |
Términos y frases comunes
action actor Anglo-Saxon Anne antithesis beauty Benedick body character chest classical consonants cultural de-dum drama Dromio earth Elizabethan emotional energy English English language exercise experience express eyes feel Folio Hamlet hand hear heart heaven hell honey breath human iambic pentameter imagery images inner King King Lear kiss language Leontes line-endings lips listening little-big words lives look lord Macbeth meaning Messenger mightst thou mouth move murder natural Neil Freeman Olivia onomatopoeia Oxford passion performance Petruchio picture poetry prose rage rhyming couplets rhythm Richard Richard III Romeo and Juliet Rosalind s/he Scene sense Shakespeare's text solar plexus Sonnet 65 soul sound speaker speaking Shakespeare speech spoken sprung rhythm stage directions story syllables tell thee thought thought/feeling Time's best tion today's actor tongue truth twentieth-century verse vibrations Viola voice vowels vowels and consonants William Shakespeare Winter's Tale