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
Ergebnisse 1-3 von 81
Seite 38
... specific , but if you simply play " falling , " the resulting action will be generic . Generic actions are like clichés : they say very little and they fail to capture attention or to stir the imagination . The actor must , in ...
... specific , but if you simply play " falling , " the resulting action will be generic . Generic actions are like clichés : they say very little and they fail to capture attention or to stir the imagination . The actor must , in ...
Seite 44
... specific energy , but the text does not say how . What is the actor to do ? She cannot enter neutrally , without making a choice . Once a character is in front of an audience , they will read her face , her body language , and her ...
... specific energy , but the text does not say how . What is the actor to do ? She cannot enter neutrally , without making a choice . Once a character is in front of an audience , they will read her face , her body language , and her ...
Seite 48
... specific choices if you set the scene for yourself so as to inspire your imagination and generate impulses . It might be a sweltering August day , for example , or it might be the first day when the air feels like spring and the window ...
... specific choices if you set the scene for yourself so as to inspire your imagination and generate impulses . It might be a sweltering August day , for example , or it might be the first day when the air feels like spring and the window ...
Inhalt
Preface | 1 |
Chapter 2 | 30 |
Chapter 4 | 61 |
Urheberrecht | |
16 weitere Abschnitte werden nicht angezeigt.
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