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
... tongue and jaw muscles deflect the impulse to communicate from the danger zone of the diaphragm to more manageable areas; just enough breath to interact with the vocal folds is engaged, and the act of speaking is centered in the throat ...
... tongue and jaw muscles deflect the impulse to communicate from the danger zone of the diaphragm to more manageable areas; just enough breath to interact with the vocal folds is engaged, and the act of speaking is centered in the throat ...
Page 12
... tongue, the teeth and the lips were fully adapted to new demands. Taste, smell and texture—pleasure, desire and satisfaction—must have permeated the process of speech for thousands of years. Speaking would have been on a par with sex ...
... tongue, the teeth and the lips were fully adapted to new demands. Taste, smell and texture—pleasure, desire and satisfaction—must have permeated the process of speech for thousands of years. Speaking would have been on a par with sex ...
Page 19
... tongue or throat the music flattens and the range diminishes to a monotonous two or three notes. IT IS IMPORTANT TO REMEMBER THAT THIS MUSIC HAPPENS. IT MUST NOT BE MADE TO HAPPEN OR THE WORST KIND OF PHONY, AFFECTED SPEAKING WILL ...
... tongue or throat the music flattens and the range diminishes to a monotonous two or three notes. IT IS IMPORTANT TO REMEMBER THAT THIS MUSIC HAPPENS. IT MUST NOT BE MADE TO HAPPEN OR THE WORST KIND OF PHONY, AFFECTED SPEAKING WILL ...
Page 20
... tongue, the upper gum ridge, teeth, the dome of the roof of the mouth and the back of the hard palate. The variegated relationships that these few surfaces provide produce an astonishing spectrum of sounds. The two large categories ...
... tongue, the upper gum ridge, teeth, the dome of the roof of the mouth and the back of the hard palate. The variegated relationships that these few surfaces provide produce an astonishing spectrum of sounds. The two large categories ...
Page 21
... tongue and the upper gum ridge for N and the back of the tongue against the back of the hard palate for NG. Experience the similarities in mood and character between the three consonants and the differences. Try not to impose ideas on ...
... tongue and the upper gum ridge for N and the back of the tongue against the back of the hard palate for NG. Experience the similarities in mood and character between the three consonants and the differences. Try not to impose ideas on ...
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