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 204
... fade should happen as smoothly as lights can fade up or fade out on a scene . Since it is often the case that one energy is waning as another is waxing , acting fades may be thought of as cross - fades , in which the lights go out on ...
... fade should happen as smoothly as lights can fade up or fade out on a scene . Since it is often the case that one energy is waning as another is waxing , acting fades may be thought of as cross - fades , in which the lights go out on ...
Seite 207
... fade is to reveal all the stages in - between the energies you are fading from and to . You should not reach the endpoint of a fade until you get to the very last word of the text you are shaping . Once there is no longer any change in ...
... fade is to reveal all the stages in - between the energies you are fading from and to . You should not reach the endpoint of a fade until you get to the very last word of the text you are shaping . Once there is no longer any change in ...
Seite 211
... fade is slowly to collapse into leaning heavily on one leg . As you fade , hold back : you shouldn't be fully arrived in the battlefield scene until the very last word of this section . The rate of change should be more gradual at the ...
... fade is slowly to collapse into leaning heavily on one leg . As you fade , hold back : you shouldn't be fully arrived in the battlefield scene until the very last word of this section . The rate of change should be more gradual at the ...
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