Freeing Shakespeare's Voice: The Actor's Guide to Talking the TextA 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. |
From inside the book
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Page 3
... sense of “truth” in their acting which depends on their personal emotional commitment to the characters they play and the words the characters speak. “Personal" truth sometimes seems too small for Shakespeare's poetic grandeur. It is ...
... sense of “truth” in their acting which depends on their personal emotional commitment to the characters they play and the words the characters speak. “Personal" truth sometimes seems too small for Shakespeare's poetic grandeur. It is ...
Page 12
... sense of the roots must persist like genes in all the words to follow. Lewis Thomas, scientist and artist, reminds us that words connect us with the natural world around us as well as with each other, and tales are told of Eskimo tribes ...
... sense of the roots must persist like genes in all the words to follow. Lewis Thomas, scientist and artist, reminds us that words connect us with the natural world around us as well as with each other, and tales are told of Eskimo tribes ...
Page 14
... senses and the emotions to be informed by the taste, touch, color and pitch of words. WARNING! All this will sound ABOMINABLE if the voice lacks freedom and truth. A recurring instruction given by directors and acting teachers to the ...
... senses and the emotions to be informed by the taste, touch, color and pitch of words. WARNING! All this will sound ABOMINABLE if the voice lacks freedom and truth. A recurring instruction given by directors and acting teachers to the ...
Page 15
... sense of its emotion. Effective speaking balances emotion and intellect. If the intellect dominates, the speaking is dry and dull; if emotion overcomes the speaker, the audience is embarrassed, suspicious, and usually fails to get the ...
... sense of its emotion. Effective speaking balances emotion and intellect. If the intellect dominates, the speaking is dry and dull; if emotion overcomes the speaker, the audience is embarrassed, suspicious, and usually fails to get the ...
Page 19
... senses, while vowels have direct access to the solar plexus, making them more immediately emotional. The characters of consonants are multifarious. For the purposes of consciousness-raising and the heightened enjoyment of the language ...
... senses, while vowels have direct access to the solar plexus, making them more immediately emotional. The characters of consonants are multifarious. For the purposes of consciousness-raising and the heightened enjoyment of the language ...
Contents
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 |
Other editions - View all
Freeing Shakespeare's Voice: The Actor's Guide to Talking the Text Kristin Linklater Limited preview - 1992 |
Freeing Shakespeare's Voice: The Actor's Guide to Talking the Text Kristin Linklater No preview available - 2010 |
Common terms and phrases
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