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 7
... emotional tone of a speech . For instance , if we have a sad speech , we mustn't just sound sad . What we play must be specific and fresh . Alan Howard : So we must dig into a character socially and psycho- logically . Ian McKellen ...
... emotional tone of a speech . For instance , if we have a sad speech , we mustn't just sound sad . What we play must be specific and fresh . Alan Howard : So we must dig into a character socially and psycho- logically . Ian McKellen ...
Halaman 14
... emotional situation there but very flat language . Yet Ben filled it out and so brought life to the spare crude text by living through the story . Now let's look at a third example of literary , Eliz- abethan prose , not from a play but ...
... emotional situation there but very flat language . Yet Ben filled it out and so brought life to the spare crude text by living through the story . Now let's look at a third example of literary , Eliz- abethan prose , not from a play but ...
Halaman 15
... emotional scenes where he thinks , " I know exactly how this character feels , I know the depth of his passion , and ... emotion in Shakespeare has to be bigger in order actually to create those words . That was a ter- rific note ...
... emotional scenes where he thinks , " I know exactly how this character feels , I know the depth of his passion , and ... emotion in Shakespeare has to be bigger in order actually to create those words . That was a ter- rific note ...
Halaman 20
... emotions to be contagious and real . Yes , the word " naturalistic " is a jargon word for a particular style . We mean by it a style which deliberately gives an impression of ordi- nary everyday speech and behavior . We don't mean it in ...
... emotions to be contagious and real . Yes , the word " naturalistic " is a jargon word for a particular style . We mean by it a style which deliberately gives an impression of ordi- nary everyday speech and behavior . We don't mean it in ...
Halaman 23
... emotional pressure of a scene , but it's also true that it may pave the way for something quite down- to - earth and simple which is even more telling . The one style enriches and sets off the other . Let's go back to The Merchant and ...
... emotional pressure of a scene , but it's also true that it may pave the way for something quite down- to - earth and simple which is even more telling . The one style enriches and sets off the other . Let's go back to The Merchant 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 |
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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 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