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
... thought of Henry V as a role full of splendid and necessary rhetoric . Under John's direction , the mighty " set speech " we know as Crispin's Day , for example , became the spontaneous , almost des- perately improvised attempt by a ...
... thought of Henry V as a role full of splendid and necessary rhetoric . Under John's direction , the mighty " set speech " we know as Crispin's Day , for example , became the spontaneous , almost des- perately improvised attempt by a ...
Halaman xiv
... thought that he had made a major breakthrough by looking at Shakespeare in essentially theatrical terms, but these days actors do not respond to him. They feel, and I think justly, that though his heart is in the right place and he is ...
... thought that he had made a major breakthrough by looking at Shakespeare in essentially theatrical terms, but these days actors do not respond to him. They feel, and I think justly, that though his heart is in the right place and he is ...
Halaman xiv
... thought that he had made a major break- through by looking at Shakespeare in essentially theatrical terms , but these days actors do not respond to him . They feel , and I think justly , that though his heart is in the right place and ...
... thought that he had made a major break- through by looking at Shakespeare in essentially theatrical terms , but these days actors do not respond to him . They feel , and I think justly , that though his heart is in the right place and ...
Halaman 3
... thought that the sort of points that need to be made could only arise truly in the living context of work- ing with actors . On this subject each actor and his experience of act- ing is worth many books . So what I shall be saying in ...
... thought that the sort of points that need to be made could only arise truly in the living context of work- ing with actors . On this subject each actor and his experience of act- ing is worth many books . So what I shall be saying in ...
Halaman 7
... thoughts , our own feelings , our own words . We must listen to the words and understand the feelings and the thoughts of the other characters . I think the most basic thing in all that is the importance of asking the question " What is ...
... thoughts , our own feelings , our own words . We must listen to the words and understand the feelings and the thoughts of the other characters . I think the most basic thing in all that is the importance of asking the question " What is ...
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