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 203
... shape its melody and lyrics if the song is really to sing . Shape is a vehicle of sense . In order to shape your speech so that it embodies the story , you must : · · put together its parts and clarify how they relate to one another ...
... shape its melody and lyrics if the song is really to sing . Shape is a vehicle of sense . In order to shape your speech so that it embodies the story , you must : · · put together its parts and clarify how they relate to one another ...
Seite 221
... shapes you have scored for yourself . Since acting is reacting , you should not think of a shape as something you make happen . A shape should happen to you . You should be led by it . This means that it is generally truthful for your ...
... shapes you have scored for yourself . Since acting is reacting , you should not think of a shape as something you make happen . A shape should happen to you . You should be led by it . This means that it is generally truthful for your ...
Seite 273
The Actor as Storyteller Tim McDonough. each performance , as the shape of a carefully rehearsed song carries a singer , as choreography carries a dancer . It is quite often the shape of a speech or a scene that stirs both actor and ...
The Actor as Storyteller Tim McDonough. each performance , as the shape of a carefully rehearsed song carries a singer , as choreography carries a dancer . It is quite often the shape of a speech or a scene that stirs both actor and ...
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