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 xiv
... passage such as this: The actor, in fine, must think of the dialogue in terms of music; of the tune and rhythm of it as at one with the sense—sometimes outbidding the sense—in telling him what to do and how to do it, in telling him ...
... passage such as this: The actor, in fine, must think of the dialogue in terms of music; of the tune and rhythm of it as at one with the sense—sometimes outbidding the sense—in telling him what to do and how to do it, in telling him ...
Halaman xiii
... passages we worked on . Two chapters on Heightened Language and on Character have had to be presented as one . We recorded much more material than we were able to screen , and chapters 4 , 6 and 11 therefore appear here for the first ...
... passages we worked on . Two chapters on Heightened Language and on Character have had to be presented as one . We recorded much more material than we were able to screen , and chapters 4 , 6 and 11 therefore appear here for the first ...
Halaman xiv
... passage such as this : The actor , in fine , must think of the dialogue in terms of music ; of the tune and rhythm of it as at one with the sense - sometimes outbidding the sense - in telling him what to do and how to do it , in telling ...
... passage such as this : The actor , in fine , must think of the dialogue in terms of music ; of the tune and rhythm of it as at one with the sense - sometimes outbidding the sense - in telling him what to do and how to do it , in telling ...
Halaman xv
... passage to which it refers . Yet the one thing it does not achieve is to tell an actor what to do or how to do it . Granville Barker delivers an aesthetic injunction but does not go into practical or line - by - line detail . That is ...
... passage to which it refers . Yet the one thing it does not achieve is to tell an actor what to do or how to do it . Granville Barker delivers an aesthetic injunction but does not go into practical or line - by - line detail . That is ...
Halaman 5
... passages , often cut down , from many different plays . I believe they can all make sense out of context and that those who don't know the play in question will still be able to follow quite easily the points we are making . As ever ...
... passages , often cut down , from many different plays . I believe they can all make sense out of context and that those who don't know the play in question will still be able to follow quite easily the points we are making . As ever ...
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