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 x
... stress , when to run on , what to throw away was there in the text , if only like John you knew what to look for . But the poetry was not an end in itself . The words became necessary . It wasn't verse speaking . It was acting . In 1979 ...
... stress , when to run on , what to throw away was there in the text , if only like John you knew what to look for . But the poetry was not an end in itself . The words became necessary . It wasn't verse speaking . It was acting . In 1979 ...
Halaman xv
... stressed over and over that his plays must be studied in relation to the stage for which they were written ? Are they no help to actors either ? The answer is , I think , not yet , or at least not deeply . This is not primarily due to ...
... stressed over and over that his plays must be studied in relation to the stage for which they were written ? Are they no help to actors either ? The answer is , I think , not yet , or at least not deeply . This is not primarily due to ...
Halaman 4
... stress things differently or violently disagree with us or stress points which we shall leave out. What we say will of course be colored and limited by the fact that we are the products of a particular time. One bit of me is uneasy at ...
... stress things differently or violently disagree with us or stress points which we shall leave out. What we say will of course be colored and limited by the fact that we are the products of a particular time. One bit of me is uneasy at ...
Halaman 4
... stress things differently or violently disagree with us or stress points which we shall leave out . What we say will of course be colored and limited by the fact that we are the products of a par- ticular time . One bit of me is uneasy ...
... stress things differently or violently disagree with us or stress points which we shall leave out . What we say will of course be colored and limited by the fact that we are the products of a par- ticular time . One bit of me is uneasy ...
Halaman 21
... stress , and will do so again and again , that we have to find a balance between those two extremes . In other words an actor in Shakespeare simply has to marry the two traditions of heightened language and naturalistic acting . Ian ...
... stress , and will do so again and again , that we have to find a balance between those two extremes . In other words an actor in Shakespeare simply has to marry the two traditions of heightened language and naturalistic acting . Ian ...
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