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 53
... remember the sand ; her face feels the sun , the ocean breeze . Set the scene , and speak the text from inside it . Marking th❜embarkèd traders on the flood 3.49 They sat there observing ( " marking " ) the ships ( " traders " ) which ...
... remember the sand ; her face feels the sun , the ocean breeze . Set the scene , and speak the text from inside it . Marking th❜embarkèd traders on the flood 3.49 They sat there observing ( " marking " ) the ships ( " traders " ) which ...
Seite 176
... remember when he was a pup . The old dog barks backward without getting up . 10.20 Onomatopoeia and rhythmic sound sense work hand in hand here . “ Bark " is a true onomatopoetic word , and the four stressed syllables of " old dog barks ...
... remember when he was a pup . The old dog barks backward without getting up . 10.20 Onomatopoeia and rhythmic sound sense work hand in hand here . “ Bark " is a true onomatopoetic word , and the four stressed syllables of " old dog barks ...
Seite 282
... remember I had killed them . " In the text this flurry of excuses is unremitting : apart from her return to the field on the night of the first vision , there is scarcely a hint of anything but refusal . It is certainly possible to play ...
... remember I had killed them . " In the text this flurry of excuses is unremitting : apart from her return to the field on the night of the first vision , there is scarcely a hint of anything but refusal . It is certainly possible to play ...
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