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 27
... speech but a rollicking jingle . There are fourteen syllables there and seven strong stresses . The lines are too long and clod - hopping for our normal speech rhythms . Blank verse , with its ten syllables , is much closer to the way ...
... speech but a rollicking jingle . There are fourteen syllables there and seven strong stresses . The lines are too long and clod - hopping for our normal speech rhythms . Blank verse , with its ten syllables , is much closer to the way ...
Halaman 80
John Barton, Royal Shakespeare Company. countrymen ' is a famous speech , but try starting it quite simply and modestly . Antony is feeling his way , so feel your way with the speech also . In contrast to Brutus make the verse as ...
John Barton, Royal Shakespeare Company. countrymen ' is a famous speech , but try starting it quite simply and modestly . Antony is feeling his way , so feel your way with the speech also . In contrast to Brutus make the verse as ...
Halaman 86
... speech suggests to him . It's so easy to play a kind of summary of a speech and not to discover it line by line as it is spoken . This problem arises particularly with soliloquies and long or set speeches . Both actors and audience have ...
... speech suggests to him . It's so easy to play a kind of summary of a speech and not to discover it line by line as it is spoken . This problem arises particularly with soliloquies and long or set speeches . Both actors and audience have ...
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