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 5
... sound that inhabit it. That is the “natural” function of our voices. The “selfhood” of the baby is undivided ... sounds may be suspect. The reference points of “truth” are made by the culture we live in. Yet we know more than we say. A ...
... sound that inhabit it. That is the “natural” function of our voices. The “selfhood” of the baby is undivided ... sounds may be suspect. The reference points of “truth” are made by the culture we live in. Yet we know more than we say. A ...
Page 6
... sound waves of the voice flowed out through the body and were received sensorially by other bodies which directly experienced the thought-feeling content of the sound waves. We can picture the speaker's body as all mouth and the ...
... sound waves of the voice flowed out through the body and were received sensorially by other bodies which directly experienced the thought-feeling content of the sound waves. We can picture the speaker's body as all mouth and the ...
Page 7
... sounds, words, emotions, language forms and verse structure that constitute a Shakespearean text. I would urge the actor who knows that his or her voice is not yet ready for big demands to find a good teacher and start work on its ...
... sounds, words, emotions, language forms and verse structure that constitute a Shakespearean text. I would urge the actor who knows that his or her voice is not yet ready for big demands to find a good teacher and start work on its ...
Page 11
... the agents that articulated, interrupted and shaped the flow of roaring sound were parts of the mouth which had hitherto been used for appetite-related functions: chewing, biting, licking, sucking. 11 1. Vowels and Consonants.
... the agents that articulated, interrupted and shaped the flow of roaring sound were parts of the mouth which had hitherto been used for appetite-related functions: chewing, biting, licking, sucking. 11 1. Vowels and Consonants.
Page 12
... sound as a prefix, and the new sound would form words for YoUTH, YoUNG, JUVENILE. By this time all trace of meaning of the chestnut tree would be gone. In order to get a language really to work from the outset, as a means of human ...
... sound as a prefix, and the new sound would form words for YoUTH, YoUNG, JUVENILE. By this time all trace of meaning of the chestnut tree would be gone. In order to get a language really to work from the outset, as a means of human ...
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