Acting Narrative Speeches: The Actor as StorytellerMeriwether Pub., 2002 - 445 Seiten 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. |
Im Buch
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Seite 51
... action is no coincidence . Without his being aware of it , Billy's hand is making the connection between the spaghetti and the vein - " unconsciously , " as we say . Try this : your action is perfectly in synch with the text . If you ...
... action is no coincidence . Without his being aware of it , Billy's hand is making the connection between the spaghetti and the vein - " unconsciously , " as we say . Try this : your action is perfectly in synch with the text . If you ...
Seite 305
... action , situation , or event . I sometimes use them in coaching to save time , with the proviso that actors must translate my shorthand into the sort of language that generates action choices . But I prefer to talk in other terms ...
... action , situation , or event . I sometimes use them in coaching to save time , with the proviso that actors must translate my shorthand into the sort of language that generates action choices . But I prefer to talk in other terms ...
Seite 328
... action might repeat at the same intensity , or it might fade up and down , in which case it would exemplify the next possibility for a single image . An Action That Builds Many years ago on PBS I saw a play ( its title is lost to me ) ...
... action might repeat at the same intensity , or it might fade up and down , in which case it would exemplify the next possibility for a single image . An Action That Builds Many years ago on PBS I saw a play ( its title is lost to me ) ...
Inhalt
Preface | 1 |
Chapter 2 | 30 |
Chapter 4 | 61 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
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