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 23
Página 3
... twentieth-century characters for most of their careers. Most films, television drama, and stage plays “hold the mirror up to [contemporary] Nature,” which is exactly what they should be doing. The prime responsibility of the theatre is ...
... twentieth-century characters for most of their careers. Most films, television drama, and stage plays “hold the mirror up to [contemporary] Nature,” which is exactly what they should be doing. The prime responsibility of the theatre is ...
Página 4
... twentieth-century voice goes pretty much unexercised in the language of extreme expression. The general public does not get together and indulge in full-throated singing three or four times a week; families do not regularly sit around ...
... twentieth-century voice goes pretty much unexercised in the language of extreme expression. The general public does not get together and indulge in full-throated singing three or four times a week; families do not regularly sit around ...
Página 5
... twentieth-century actor, playing twentieth-century characters, experiences “truthful” emotions through these accepted response mechanisms. The voice must squeeze out through a narrow throat, clenched jaw and nasal resonance in order to ...
... twentieth-century actor, playing twentieth-century characters, experiences “truthful” emotions through these accepted response mechanisms. The voice must squeeze out through a narrow throat, clenched jaw and nasal resonance in order to ...
Página 6
... twentieth-century behavior. Mistrust of the spoken word is understandable, and thus it is that in today's acting classes we hear repeated again and again: “Stop thinking. Get beyond the words. It's not the words that count, it's the ...
... twentieth-century behavior. Mistrust of the spoken word is understandable, and thus it is that in today's acting classes we hear repeated again and again: “Stop thinking. Get beyond the words. It's not the words that count, it's the ...
Página 7
... twentieth-century upbringing and awaken the dormant power that brings breath into every cell of the body and rstores largesse of expression and stature to the humanactor-being. Instinctively, actors know that Shakespeare offers them ...
... twentieth-century upbringing and awaken the dormant power that brings breath into every cell of the body and rstores largesse of expression and stature to the humanactor-being. Instinctively, actors know that Shakespeare offers them ...
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