Playing ShakespeareMethuen, 1984 - 211 halaman Together with Royal Shakespeare Company actors including Patrick Stewart, Judi Dench, Ian McKellen, Ben Kingsley, and David Suchet, director John Barton demonstrates how to adapt Elizabethan theater for the modern stage. Barton begins by explicating Shakespeare's verse and prose, speeches and soliloquies, and naturalistic and heightened language to discover the essence of his characters. In the second section, Barton and the actors explore nuance in Shakespearean theater, from evoking irony and ambiguity and striking the delicate balance of passion and profound intellectual thought, to finding new approaches to playing Shakespeare's most controversial creation, Shylock, from The Merchant of Venice. |
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Halaman 7
... believe that the kind of points we shall be making in these workshops work best in the theatre , not by a director telling an actor about them but by an actor learning them , largely by experience , and applying them for himself . There ...
... believe that the kind of points we shall be making in these workshops work best in the theatre , not by a director telling an actor about them but by an actor learning them , largely by experience , and applying them for himself . There ...
Halaman 30
... believe that it has ten strong stresses out of ten : ' Good queen , my lord , good queen , I say good queen ' . The repetition of the word ' good ' is given extra weight because it is put in what I've just called the contrapuntal ...
... believe that it has ten strong stresses out of ten : ' Good queen , my lord , good queen , I say good queen ' . The repetition of the word ' good ' is given extra weight because it is put in what I've just called the contrapuntal ...
Halaman 52
... believe the poetry in Shakespeare is unimportant . In the end , it may well be the most important thing of all , but I don't believe in rubbing an actor's nose in it at the outset . To do that blocks and inhibits him , which is why I am ...
... believe the poetry in Shakespeare is unimportant . In the end , it may well be the most important thing of all , but I don't believe in rubbing an actor's nose in it at the outset . To do that blocks and inhibits him , which is why I am ...
Isi
Foreword by Trevor Nunn page | 1 |
Objective Things | 5 |
The Two TraditionsElizabethan and Modern Acting | 6 |
Hak Cipta | |
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actor actually Alan Howard ambiguity antitheses Antonio audience Barbara Leigh-Hunt believe Ben Kingsley blank verse Brutus Caesar character course Cressida David Suchet de-dum death Desdemona director Donald Sinden dost doth Elizabethan EMILIA emotions example FALSTAFF feel FESTE give Hamlet happens hath heightened language Henry honour Ian McKellen intention irony Jane Lapotaire Judi Dench King Kingsley Lisa Harrow listen look mean Merchant of Venice Michael Pennington Mike Gwilym naturalistic Norman Rodway once ORSINO Othello passage passion Patrick Stewart pause perhaps Playing Shakespeare poetic poetry PORTIA prose question rehearsal rhythm Richard Pasco Roger Rees scene sense sentence Shakespeare's text Sheila Hancock Shylock soliloquy sometimes sonnet sooth I know sounds speak speech strong stresses talking tell theatre thee there's thing thou thought Tony Church tradition Troilus Tubal verse line verse-line VIOLA words