03580cam a2200289 i 4500 127509 20230410132609.0 171107s2015 enk 000 0 eng d 9781783190089 9781783195077 eng PR 3091 H662a 2015 792.9/5 Hinds, Andy Acting Shakespeare's language / Andy Hinds London : Oberon Books, 2015 269 p. ; 22 cm Contents: SECTION ONE: THE FOUNDATION - FEEDING OFF THE ENVIRONMENT 1 - Introduction 2 - When you speak - 'ask', 'explain' or 'command'. 3 - Objectives - Understand the objective of speech or utterance - Act with practical purpose. 4 - Addressees - Open fresh line of communication each time the addressee changes. 5 - Outward Visual Connection - Eyes at all times outwardly and actively connected. 6 - Action Not Feeling - 'yin' and' yang' - achieving the balance. 7 - Realize, Discover, See the light. 8 - Being in the moment - Thinking on the line; the thought is the line; the line is the thought. 9 - Standing over one's utterances - 'Containing' the accumulated energy. 10 - Asides - different types of Asides and how to play them. 11 - Transitions - how to make transitions within a speech. SECTION TWO: WHAT THE VERSE, POETRY AND RHETORIC OFFERS YOU AND ASKS OF YOU 1 - The Iambic Pentameter - What is it? 2 - Making it sound 'natural' - How would you instinctively say it?... How honouring and working the verse makes it sound 'natural'. 3 - Finding the beats - 'Skidding over the beats'... 'Missing the beats'... 'Over emphasising the beats'. 4 - 'Reciting' - When 'honouring' the verse takes over from clear communication. 5 - Being in the active, creative present of the line. 6 - Don't 'sign off' - How not to throw away the energy one has built up during a speech or line. 7 - 'No subtext' - Committing to the surface meaning of the line. 8 - Imagery - Making the concrete surface of the image clear. 9 - Personifications - Speak to the 'personification' as if it is alive and human. 10 - Oppositions - Give appropriate pointing to the 'a's' and the 'b's'. 11 - Parentheses - Separating the 'spine of sentence' from the 'parentheses'. 12 - Adjectives and Adverbs - Making them 'necessary'. 13 - Caesurae - What is a 'caesura'? Identifying it, and using it to advantage. 14 - Rhetorical 'lists'. SECTION THREE: SOLILOQUIES AND 'BIG SPEECHES' All that has gone before will apply to soliloquies - usually more so. But there are specific considerations. 1 - 'Objectives' - Feeding off and talking to the imagined environment, the audience, the universe. 2 - 'Who am I talking to?' - Identifying and addressing oneself to the most useful of the possible addresses. 3 - 'Eyes' - Where do I Iook? 4 - 'Signing off' - Containing and not throwing away the energy at the end of the speech. 5 - 'Soliloquy as primarily a process of enlightment' - Identifying the different place the character has arrived at by the end. 6 - 'Transitions' - identifying and playing the transitions within the speech for to achieve clarity and the building of energy. 7 - 'Building' the speech. Shakespeare, William, 1564-1616 Dramatic production. Shakespeare, William, 1564-1616 Language. Shakespeare, William, 1564-1616. Shakespeare, William, 1564-1616 Producción dramática. Shakespeare, William, 1564-1616 Crítica e interpretación. Teatro Historia Inglaterra. lcc bk dpf 84350 84350 0 0 lcc 0 0 HU BJB BJB HU 2023-04-10 1 0 PR 3091 H662a 2015 00000119961 2018-10-25 00:00:00 1 2018-10-25 bk