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 59
... whole play .. Roger Rees : ... So it's like the introduction . It tells us the whole story , so it's not about character . That's right , so its function is choric . We want to know about Antony and we want to know about Cleopatra , but ...
... whole play .. Roger Rees : ... So it's like the introduction . It tells us the whole story , so it's not about character . That's right , so its function is choric . We want to know about Antony and we want to know about Cleopatra , but ...
Halaman 113
... whole text of Shakespeare are a mine - field of problems for an actor . But of course Shakespeare's text is often not at all convoluted . So as I have stressed antithesis and ambiguity and double meanings , it's perhaps time to take a ...
... whole text of Shakespeare are a mine - field of problems for an actor . But of course Shakespeare's text is often not at all convoluted . So as I have stressed antithesis and ambiguity and double meanings , it's perhaps time to take a ...
Halaman 120
... whole session over to irony , but Shakespeare uses it over and over again , and an actor who cannot handle it will keep missing out a vital element in the character he is building . I believe it is as important a subject as any we are ...
... whole session over to irony , but Shakespeare uses it over and over again , and an actor who cannot handle it will keep missing out a vital element in the character he is building . I believe it is as important a subject as any we are ...
Isi
Foreword by Trevor Nunn page | 1 |
Objective Things | 5 |
The Two TraditionsElizabethan and Modern Acting | 6 |
Hak Cipta | |
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Istilah dan frasa umum
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