How did the actors for whom Shakespeare wrote his plays make his characters come to life, how did they convey his words? Can modern directors, actors, and even library readers of Shakespeare learn from them? Creating character and making the Elizabethan playwright’s poetry compelling for the audience is a problem which has seldom been resolved in modern times. This book demonstrates the hard course a modern actor must follow to make real and truthful the words he speaks, and the action and emotion underlying them. With examples and simple exercises, this book helps with the preparation for the great task – providing the actor with a combination that unlocks the Bard's English. Starting with how theatrical speech was understood in Renaissance England, it looks at figures of speech, the powers of persuasion, and the passion and rhythm inherent in the language.
". . .an excellent basic guide for anyone who likes to get behind the scenes, be it the actor who performs or the student who studies Shakespeare's script as a...
It's a passionate, yes-you-can designed to prove that anybody can act Shakespeare. By explaining how Elizabethan actors had only their own lines and not entire playscripts, Patrick Tucker shows how much these plays work by ear.
Who says only the British can act Shakespeare? In this unique guide, a veteran acting coach shatters that myth with a boldly American approach to the Bard.
Through a series of inspiring, easy-to-follow exercises, an acclaimed director and drama coach shows both students and experienced actors how to break down the verse, support the words, understand the images, and use the text to create ...
Rhymed Verse and Couplets: A Poet and Do Know It -- Sonnets -- Exercise 21: Write a Sonnet -- Prose: How We Talk -- Dag-nabbit!
Playing Shakespeare is the premier guide to understanding and appreciating the mastery of the world’s greatest playwright.
Heere feele we not the penaltie of Adam, The seasons difference, as the Icie phange And churlish chiding of the winters winde, churlish chiding = alliteration Which when it bites and blowes upon my winters winde = alliteration body Even ...
"Grote describes the company's reorganization as the King's Men, which led to the writing of Shakespeare's great tragedies, as well as the trials of the plague years, Shakespeare's retirement from the stage, the development of writers to ...
Don Weingust places this work on Folio performance possibility within current understandings about Shakespearean text, describing ways in which these challenging theories about acting often align quite nicely with the work of the theories' ...
This third edition retains the second edition’s unique solutions to challenges that face directors and actors at advanced levels and is expanded to include an entirely new section for amateur and community theatre groups.