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 22
... impulses . Intuitive choices are essential to any rehearsal process , and a sense of spontaneity is important in performance . But acting is not pure instinct ; an actor's impulses need to be informed by the material and its ...
... impulses . Intuitive choices are essential to any rehearsal process , and a sense of spontaneity is important in performance . But acting is not pure instinct ; an actor's impulses need to be informed by the material and its ...
Seite 23
... impulses which are not connected to what happens in the text . - Impulses of this sort seem to come out of nowhere and tend to go nowhere . Once you have imaginatively situated yourself inside a narrative speech , you may have all sorts ...
... impulses which are not connected to what happens in the text . - Impulses of this sort seem to come out of nowhere and tend to go nowhere . Once you have imaginatively situated yourself inside a narrative speech , you may have all sorts ...
Seite 242
... impulses for popping out playfully from some space in the kitchen ( see 8.5 ) . 12.13 Popping out in this way would mean that at an earlier point Weston gets behind something or another . Does such an impulse make sense for the previous ...
... impulses for popping out playfully from some space in the kitchen ( see 8.5 ) . 12.13 Popping out in this way would mean that at an earlier point Weston gets behind something or another . Does such an impulse make sense for the previous ...
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