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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... feel themselves to be members of a theater company , and who have shared the experience of trying to communicate the ambiguities and complexities of the greatest of all dramatists . I have been privileged to lead the fortunes of this ...
... feel themselves to be members of a theater company , and who have shared the experience of trying to communicate the ambiguities and complexities of the greatest of all dramatists . I have been privileged to lead the fortunes of this ...
Halaman xiv
... feel that this does not really help them as actors. One of them once showed me a Shakespearean Grammar he had got hold of in the hope of getting his bearings. It was a daunting document, full of technical terms which alarmed rather than ...
... feel that this does not really help them as actors. One of them once showed me a Shakespearean Grammar he had got hold of in the hope of getting his bearings. It was a daunting document, full of technical terms which alarmed rather than ...
Halaman xiv
... feel that this does not really help them as actors . One of them once showed me a Shakespearean Grammar he had got hold of in the hope of get- ting his bearings . It was a daunting document , full of technical terms which alarmed rather ...
... feel that this does not really help them as actors . One of them once showed me a Shakespearean Grammar he had got hold of in the hope of get- ting his bearings . It was a daunting document , full of technical terms which alarmed rather ...
Halaman 5
... feel at this time . We shall look at many short individual passages , often cut down , from many different plays . I ... feeling of a speech , but just because I get the gist I often don't listen to the lines in detail . Not unless the ...
... feel at this time . We shall look at many short individual passages , often cut down , from many different plays . I ... feeling of a speech , but just because I get the gist I often don't listen to the lines in detail . Not unless the ...
Halaman 7
... feeling for its own sake . " Lisa Harrow : Or , in other words , we must beware of playing only the quality or ... feels absolutely the inner need to do so . Huge , long pauses . By the time he's ready THE TWO TRADITIONS 7.
... feeling for its own sake . " Lisa Harrow : Or , in other words , we must beware of playing only the quality or ... feels absolutely the inner need to do so . Huge , long pauses . By the time he's ready THE TWO TRADITIONS 7.
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