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
... telling him what to do and how to do it, in telling him, indeed, what to be. Preface to Lor1e's Labour? Lost This is in fact a shrewd and just comment on XIV ->-> PREFACE.
... telling him what to do and how to do it, in telling him, indeed, what to be. Preface to Lor1e's Labour? Lost This is in fact a shrewd and just comment on XIV ->-> PREFACE.
Halaman xiv
... telling him what to do and how to do it , in telling him , indeed , what to be . Preface to Love's Labour's Lost This is in fact a shrewd and just comment on xiv → PREFACE.
... telling him what to do and how to do it , in telling him , indeed , what to be . Preface to Love's Labour's Lost This is in fact a shrewd and just comment on xiv → PREFACE.
Halaman xv
... 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 surpris- ing as he was an actor and a director , and a very fine one ...
... 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 surpris- ing as he was an actor and a director , and a very fine one ...
Halaman 4
... telling an actor about them but by an actor learning them, largely by experience, and applying them for himself. There are few absolute rules about playing Shakespeare but many possibilities. We don't offer ourselves as high priests but ...
... telling an actor about them but by an actor learning them, largely by experience, and applying them for himself. There are few absolute rules about playing Shakespeare but many possibilities. We don't offer ourselves as high priests but ...
Halaman 6
... Tell us. PAM: 'Ow many girls you 'ad? LEN: No, I tol' yer my lifc. PAM: 'Old on. LEN: What? PAM: Yer got a spot. LEN: Where? PAM! 'Old still. LEN: Is it big? PAM: 'Old still. LEN: Go easy. (She hursts the spot on his neck.) PAM: Got it ...
... Tell us. PAM: 'Ow many girls you 'ad? LEN: No, I tol' yer my lifc. PAM: 'Old on. LEN: What? PAM: Yer got a spot. LEN: Where? PAM! 'Old still. LEN: Is it big? PAM: 'Old still. LEN: Go easy. (She hursts the spot on his neck.) PAM: Got it ...
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