Starting with Scripts: Dramatic Literature for KS3 & KS4Nelson Thornes, 2002 - 188 páginas Starting with Scripts offers an exciting introduction to dramatic literature for students aged 11-16. Fully revised and updated, this text complements Script Sampler to form a comprehensive Drama resource written by an experienced and widely-respected author. |
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Contenido
Section one How are plays different from novels? 1 Introduction | 2 |
Reading for story | 9 |
The plot | 12 |
Setting the scene | 14 |
Special strategies | 17 |
Chorus | 20 |
Dramatic irony | 23 |
Section two The language of plays | 29 |
Directions for sound | 109 |
Music | 112 |
Putting it all together | 113 |
Section four Dramatic characters | 116 |
First impressions | 118 |
Subtext | 125 |
Finding the motive | 129 |
Characters in action | 130 |
Voicing the lines | 31 |
Dialogue | 37 |
And now for the news | 43 |
Direct address | 44 |
Rhythm | 48 |
Rhythm in conversation | 53 |
Whats my line? | 57 |
First impressions | 59 |
Moody moments | 60 |
Genre | 63 |
Style | 67 |
Positioning the audience | 70 |
Playing with the illusion | 75 |
Stage screen and radio | 77 |
Section three Understanding stage directions | 92 |
If in doubt read the instructions | 93 |
Directions in the dialogue | 98 |
Addressing the actor | 99 |
Addressing the set designer | 101 |
Directions for lighting | 107 |
Whats in a name? | 133 |
Stereotypes | 136 |
Personification | 139 |
Functional characters | 141 |
Cameos | 142 |
Character development | 144 |
Bodies in space | 146 |
Casting | 150 |
Costume mask and makeup | 153 |
Using the whole stage | 160 |
The onstage audience | 163 |
Section five Experiencing the production | 168 |
Attention seeking | 169 |
Just the ticket | 172 |
Gut reactions | 173 |
Making a critical comment | 175 |
Reviewing the reviews | 178 |
Glossary | 182 |
Acknowledgements | 187 |
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Términos y frases comunes
action actors actually ADELE aloud Alun Armstrong asked Bentley BLACKMORE Bramson Brutus camera Capulet characters chorus colours comedy costume designer dialogue director DRACULA drama dramatic irony Elvira ERPINGHAM ESTRAGON example extract feel film genre GOLDBERG groups GULLIVER hand happening Harold Harold Pinter HARRY hear Hello HOLROYD ideas imagine Improvise JACK Knock laugh light lines look Lussurioso Macbeth MACLEISH make-up MALAPROP Malvolio Mark Antony MCCANN mean MITCHEM move murder nice night Night Must Fall novel pairs performance perhaps person playscripts playwright PLEB production Revenger's Tragedy Roger McGough Romeo and Juliet RUTH Samuel Beckett scene script Sean Shakespeare sort sound effects speak speech stage directions story talk teacher television tell the audience things TRACEY understand Unit VLADIMIR voice Waiting for Godot watching What's words writing