Freeing Shakespeare's Voice: The Actor's Guide to Talking the TextTheatre Communications Group, 01.01.1993 - 224 Seiten A passionate exploration of the process of comprehending and speaking the words of William Shakespeare. Detailing exercises and analyzing characters' speech and rhythms, Linklater provides the tools to increase understanding and make Shakespeare's words one's own. |
Im Buch
Ergebnisse 1-5 von 33
Seite 6
... speaker's body as all mouth and the listener's body as all ear. Shakespeare's “truth,” therefore, is different from our daily experience of “truth.” The scale is larger than our domestic reality. But he does not express his truth in a ...
... speaker's body as all mouth and the listener's body as all ear. Shakespeare's “truth,” therefore, is different from our daily experience of “truth.” The scale is larger than our domestic reality. But he does not express his truth in a ...
Seite 7
... speaker's reality expands to fill Shakespeare's reality, and as familiarity with larger, wilder, more outrageous expression grows, so does the confidence that this is “true." In the course of this book, I will show you how to tap into ...
... speaker's reality expands to fill Shakespeare's reality, and as familiarity with larger, wilder, more outrageous expression grows, so does the confidence that this is “true." In the course of this book, I will show you how to tap into ...
Seite 11
... speaker allows one to speak Shakespeare fully. Nobody knows how language began. According to my own constantly shifting state of mind and being, I can subscribe one day to the idea that language descended to us from the gods and on ...
... speaker allows one to speak Shakespeare fully. Nobody knows how language began. According to my own constantly shifting state of mind and being, I can subscribe one day to the idea that language descended to us from the gods and on ...
Seite 14
... speaker to listener. Twentieth-century listeners are conditioned to translate what they hear more cerebrally than in the age of oral communication, but “whole-body” speaking and listening is still operative even though we may not be ...
... speaker to listener. Twentieth-century listeners are conditioned to translate what they hear more cerebrally than in the age of oral communication, but “whole-body” speaking and listening is still operative even though we may not be ...
Seite 15
... speaker, the audience is embarrassed, suspicious, and usually fails to get the message. An individual habit of speech in which consonants are slurred or swallowed usually reflects a lack of clear thinking; an overly rich vowel-dominated ...
... speaker, the audience is embarrassed, suspicious, and usually fails to get the message. An individual habit of speech in which consonants are slurred or swallowed usually reflects a lack of clear thinking; an overly rich vowel-dominated ...
Inhalt
1 | |
3 | |
9 | |
11 | |
30 | |
3 Words Into Phrases | 45 |
4 Organically Cosmically and Etymologically Speaking | 57 |
5 Figures of Speech | 79 |
6 The Iambic Pentameter | 121 |
7 Rhyme | 141 |
8 Lineendings | 153 |
9 Verse and Prose Alternation | 173 |
THE CONTEXTURE | 183 |
10 Todays Actor in Shakespeares World | 187 |
11 Shakespeares Voice in Todays World | 193 |
12 Which Voice? The Texts | 204 |
Stage Directions Double Meanings Bawdry Thees Thous and Yous | 99 |
Verse and Prose | 119 |
13 Whose Voice? The Man | 209 |
Andere Ausgaben - Alle anzeigen
Freeing Shakespeare's Voice: The Actor's Guide to Talking the Text Kristin Linklater Eingeschränkte Leseprobe - 1992 |
Freeing Shakespeare's Voice: The Actor's Guide to Talking the Text Kristin Linklater Keine Leseprobe verfügbar - 2010 |
Häufige Begriffe und Wortgruppen
action actor Anglo-Saxon Anne antithesis beauty Benedick body character chest classical consonants cultural de-dum drama Dromio earth Elizabethan emotional energy English English language exercise experience express eyes feel Folio Hamlet hand hear heart heaven hell honey breath human iambic pentameter imagery images inner King King Lear kiss language Leontes line-endings lips listening little-big words lives look lord Macbeth meaning Messenger mightst thou mouth move murder natural Neil Freeman Olivia onomatopoeia Oxford passion performance Petruchio picture poetry prose rage rhyming couplets rhythm Richard Richard III Romeo and Juliet Rosalind s/he Scene sense Shakespeare's text solar plexus Sonnet 65 soul sound speaker speaking Shakespeare speech spoken sprung rhythm stage directions story syllables tell thee thought thought/feeling Time's best tion today's actor tongue truth twentieth-century verse vibrations Viola voice vowels vowels and consonants William Shakespeare Winter's Tale