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 179
... effect is a deadly monotony . ( I.v ) The thin and wholesome blood . So did it mine 10.28 Four of these seven lines have no punctuation at the end of them and flow without a break into the next line . In a passage with so many enjambed ...
... effect is a deadly monotony . ( I.v ) The thin and wholesome blood . So did it mine 10.28 Four of these seven lines have no punctuation at the end of them and flow without a break into the next line . In a passage with so many enjambed ...
Seite 185
... effect , in which the relentless march of the sentence is in tension with the staccato effect of the consonants and monosyllables . The flow of " I could feel myself in my bed in my room in this house in this town in this state in this ...
... effect , in which the relentless march of the sentence is in tension with the staccato effect of the consonants and monosyllables . The flow of " I could feel myself in my bed in my room in this house in this town in this state in this ...
Seite 186
... effect sparingly , when it truthfully captures the unexpected nature of an event . - - More commonly , an actor moves from one rhythm to the next gradually , by degrees , without any apparent break . Most rhythms evolve . In film ...
... effect sparingly , when it truthfully captures the unexpected nature of an event . - - More commonly , an actor moves from one rhythm to the next gradually , by degrees , without any apparent break . Most rhythms evolve . In film ...
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