Playing Shakespeare: An Actor's GuideKnopf Doubleday Publishing Group, 10 Nov 2010 - 288 halaman Playing Shakespeare is the premier guide to understanding and appreciating the mastery of the world’s greatest playwright. Together with Royal Shakespeare Company actors–among them Patrick Stewart, Judi Dench, Ian McKellen, Ben Kingsley, and David Suchet–John Barton demonstrates how to adapt Elizabethan theater for the modern stage. The director 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. A practical and essential guide, Playing Shakespeare will stand for years as the authoritative favorite among actors, scholars, teachers, and students. |
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Halaman vii
... Balance 167 9 Rehearsing the Text - Orsino and Viola 188 10 Exploring a Character - Playing Shylock 211 II Contemporary Shakespeare - A Discussion 227 12 Poetry and Hidden Poetry - Three Kinds of Failure 243 « Actors who took part in ...
... Balance 167 9 Rehearsing the Text - Orsino and Viola 188 10 Exploring a Character - Playing Shylock 211 II Contemporary Shakespeare - A Discussion 227 12 Poetry and Hidden Poetry - Three Kinds of Failure 243 « Actors who took part in ...
Halaman 19
... balance there between the heightened and the naturalistic elements . Balance between these ingredients is some- thing which we're always looking for and we shall keep coming back to that word . The great thing was that the speech was ...
... balance there between the heightened and the naturalistic elements . Balance between these ingredients is some- thing which we're always looking for and we shall keep coming back to that word . The great thing was that the speech was ...
Halaman 20
... balance . There has to be a balance between being seemingly natural on the one hand and coming to terms with the heightened language on the other . We've seen what happens if we do the Salerio speech totally naturalistically , and we've ...
... balance . There has to be a balance between being seemingly natural on the one hand and coming to terms with the heightened language on the other . We've seen what happens if we do the Salerio speech totally naturalistically , and we've ...
Halaman 21
... balance between those two extremes . In other words an actor in Shakespeare simply has to marry the two traditions of heightened language and naturalistic acting . Ian McKellen : I must confess I find it very difficult to draw a clear ...
... balance between those two extremes . In other words an actor in Shakespeare simply has to marry the two traditions of heightened language and naturalistic acting . Ian McKellen : I must confess I find it very difficult to draw a clear ...
Halaman 22
... balance right , then there's no question of the result being either too naturalistic or too this or too that . It will work , it will be real and it will be accepted . Ben Kingsley : We've been talking about finding a balance and ...
... balance right , then there's no question of the result being either too naturalistic or too this or too that . It will work , it will be real and it will be accepted . Ben Kingsley : We've been talking about finding a balance and ...
Isi
3 | |
27 | |
Language and CharacterMaking the Words Ones Own | 56 |
Using the ProseWhy Does Shakespeare Use Prose? | 83 |
S Set Speeches and Soliloquies Taking the Audience with You | 106 |
Using the SonnetsGoing Over Some Old Ground | 128 |
Subjective Things | 147 |
Irony and AmbiguityText That Isnt What It Seems | 149 |
Passion and CoolnessA Question of Balance | 167 |
Rehearsing the TextOrsino and Viola | 188 |
Exploring a CharacterPlaying Shylock | 211 |
Contemporary ShakespeareA Discussion | 227 |
Poetry and Hidden PoetryThree Kinds of Failure | 243 |
Edisi yang lain - Lihat semua
Istilah dan frasa umum
actor actually Alan Howard ambiguity antitheses Antonio audience Barbara Leigh-Hunt believe Ben Kingsley blank verse Brutus Caesar character COSTARD course Cressida David Suchet de-dum death Desdemona director Donald Sinden dost doth Elizabethan EMILIA emotional 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 Peggy Ashcroft perhaps Playing Shakespeare poetic poetry PORTIA prose rehearsal rhythm Richard Pasco Roger Rees scene sense Shake Shakespeare's text Sheila Hancock Shylock soliloquy sonnet sooth I know sounds speak speare speech strong stresses talking tell theater thee there's thing thou thought Tony Church Troilus verse line verse-line VIOLA words