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 81
... point of view - Sometimes it is obvious that you ought to play a point of view other than your own character's because that other perspective is more important to the story you are telling . When Billy the Kid talks about the chicken ...
... point of view - Sometimes it is obvious that you ought to play a point of view other than your own character's because that other perspective is more important to the story you are telling . When Billy the Kid talks about the chicken ...
Seite 83
... point of view . 5.5 Imagine Wesley by a kitchen window as he relives this moment . He is careful not to let his ... point of view . Is Wesley's characterization sympathetic or a mockery of his father ? Try it both ways . This is a ...
... point of view . 5.5 Imagine Wesley by a kitchen window as he relives this moment . He is careful not to let his ... point of view . Is Wesley's characterization sympathetic or a mockery of his father ? Try it both ways . This is a ...
Seite 123
... point of view . Is Wesley frozen in the middle of his room ? Is he cringing in a corner , hiding under the bedcovers ? Is he pacing like a caged animal ? Experiment with these alternatives . 7.19 One movement possibility , which ...
... point of view . Is Wesley frozen in the middle of his room ? Is he cringing in a corner , hiding under the bedcovers ? Is he pacing like a caged animal ? Experiment with these alternatives . 7.19 One movement possibility , which ...
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