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. |
Dari dalam buku
Hasil 1-5 dari 91
Halaman xi
... its achievements ; there is something in the texts of these programs that underpins all RSC achievements , and something which makes the series Playing Shakespeare an RSC achievement in its own right . TREVOR NUNN ← Preface I This book ...
... its achievements ; there is something in the texts of these programs that underpins all RSC achievements , and something which makes the series Playing Shakespeare an RSC achievement in its own right . TREVOR NUNN ← Preface I This book ...
Halaman 5
... It's so easy for an audience not to listen , particularly with a knotty and difficult text . I may be cyni- cal but I don't believe most people really listen to Shakespeare in the theater unless the actors make them do so . I certainly ...
... It's so easy for an audience not to listen , particularly with a knotty and difficult text . I may be cyni- cal but I don't believe most people really listen to Shakespeare in the theater unless the actors make them do so . I certainly ...
Halaman 8
... it's good also to remember the story told of John Gielgud . When he was asked , " Now , Sir John , what exactly is your intention at this point ? " he answered , " To get onto the stage . " Yes , here and elsewhere , we will find that ...
... it's good also to remember the story told of John Gielgud . When he was asked , " Now , Sir John , what exactly is your intention at this point ? " he answered , " To get onto the stage . " Yes , here and elsewhere , we will find that ...
Halaman 12
... its particular demands and its distractions perhaps forced a cruder style on the actors than we aim for now . The traditional style of acting was formal and bombas- tic and Shakespeare tried to get away from it . Mike Gwilym : And they ...
... its particular demands and its distractions perhaps forced a cruder style on the actors than we aim for now . The traditional style of acting was formal and bombas- tic and Shakespeare tried to get away from it . Mike Gwilym : And they ...
Halaman 17
... it's not ? Ian McKellen : Yes , it's quite easy for a modern actor to get into because there aren't many old - fashioned words in it . Though I do note that it's written in verse and not prose . But it's occurred to me that I probably ...
... it's not ? Ian McKellen : Yes , it's quite easy for a modern actor to get into because there aren't many old - fashioned words in it . Though I do note that it's written in verse and not prose . But it's occurred to me that I probably ...
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