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 138
... emotion which we're after . It is to do with both having emotional experiences and with learning from them . Very often an emotional speech in Shakespeare is to do with learning something . Particularly if the character who speaks it is ...
... emotion which we're after . It is to do with both having emotional experiences and with learning from them . Very often an emotional speech in Shakespeare is to do with learning something . Particularly if the character who speaks it is ...
Halaman 141
... emotional is he and how much is he simply working on the conspirators ' emotions ? I suppose it's a bit of both . He's using his feelings to work up feelings in his listeners . What do you think ? Ben Kingsley : Well , I think that all ...
... emotional is he and how much is he simply working on the conspirators ' emotions ? I suppose it's a bit of both . He's using his feelings to work up feelings in his listeners . What do you think ? Ben Kingsley : Well , I think that all ...
Halaman 146
... emotion out . Yet Shakespeare has actually written ' aside ' against this speech . So when you're in a small space ... emotions , but because I believe that I'm talking about the way to make the scene or a character or a speech more ...
... emotion out . Yet Shakespeare has actually written ' aside ' against this speech . So when you're in a small space ... emotions , but because I believe that I'm talking about the way to make the scene or a character or a speech more ...
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