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 xv
... mind of the actor who has to play that text . He does not , for instance , seem to understand the natural fear that ... minds worked . I have suggested in this book some of the things they must have instinctively gleaned from the text ...
... mind of the actor who has to play that text . He does not , for instance , seem to understand the natural fear that ... minds worked . I have suggested in this book some of the things they must have instinctively gleaned from the text ...
Halaman 6
... mind as he begins work on a modern text. No, any text. What are the most important things to go for? David Suchct: We might do worse than start with something Stanislavsley wrote: “I f you speak any lines or do anything mechanically ...
... mind as he begins work on a modern text. No, any text. What are the most important things to go for? David Suchct: We might do worse than start with something Stanislavsley wrote: “I f you speak any lines or do anything mechanically ...
Halaman 5
... V.6 . Secondly there are the actors today with their modern habit of mind and their different acting tradition , based on the kind of text that they're more used to : LEN : ( Mike Gwilym ) : ' S great THE TWO TRADITIONS 5.
... V.6 . Secondly there are the actors today with their modern habit of mind and their different acting tradition , based on the kind of text that they're more used to : LEN : ( Mike Gwilym ) : ' S great THE TWO TRADITIONS 5.
Halaman 6
... mind as he begins work on a modern text . No , any text . What are the most important things to go for ? David Suchet : We might do worse than start with something Stanislavsky wrote : " If you speak any lines or do anything mechani ...
... mind as he begins work on a modern text . No , any text . What are the most important things to go for ? David Suchet : We might do worse than start with something Stanislavsky wrote : " If you speak any lines or do anything mechani ...
Halaman 7
... mind when he writes a given line , but of course that isn't necessarily so . A playwright can write a play without asking that question constantly or even most of the time . All that we in the theater are saying is that to ask that ...
... mind when he writes a given line , but of course that isn't necessarily so . A playwright can write a play without asking that question constantly or even most of the time . All that we in the theater are saying is that to ask that ...
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