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 26
... verse is a more economical way than prose of saying something , it's likely to be more concise and more particular and exact . At the same time , because verse has a rhythm and a flow , it's perhaps more attractive to listen to and ...
... verse is a more economical way than prose of saying something , it's likely to be more concise and more particular and exact . At the same time , because verse has a rhythm and a flow , it's perhaps more attractive to listen to and ...
Halaman 45
... verse . If you find you are getting bogged down in the process then of course you have to stop . On the other hand , we mustn't dodge our obligations . People ' who criticise us in the theatre for not doing justice to the verse do have ...
... verse . If you find you are getting bogged down in the process then of course you have to stop . On the other hand , we mustn't dodge our obligations . People ' who criticise us in the theatre for not doing justice to the verse do have ...
Halaman 75
... verse , that such switches in the text contain useful hints to the actor about how to play the scene . In particular we should look at the way in which verse gives way to prose and prose is followed by verse within particular scenes ...
... verse , that such switches in the text contain useful hints to the actor about how to play the scene . In particular we should look at the way in which verse gives way to prose and prose is followed by verse within particular scenes ...
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