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 xvi
... true but whether it helps , stimulates and releases an actor at a particular rehearsal . If it does so , then the advice is useful . If it does not , however true it may be , it has no practical use in that par- ticular context ...
... true but whether it helps , stimulates and releases an actor at a particular rehearsal . If it does so , then the advice is useful . If it does not , however true it may be , it has no practical use in that par- ticular context ...
Halaman 5
... true , ' tis there That , like an eagle in a dove - cote , I Fluttered your Volscians in Corioles . Alone I did it . " Boy " ! Coriolanus : V.6 . Secondly there are the actors today with their modern habit of mind and their different ...
... true , ' tis there That , like an eagle in a dove - cote , I Fluttered your Volscians in Corioles . Alone I did it . " Boy " ! Coriolanus : V.6 . Secondly there are the actors today with their modern habit of mind and their different ...
Halaman 16
... true . But we should look now in more detail into this question of marrying the Two Traditions . Let's go back to the opening of The Merchant of Venice where Antonio the merchant is talking to his friends Salerio and Solanio . ANTONIO ...
... true . But we should look now in more detail into this question of marrying the Two Traditions . Let's go back to the opening of The Merchant of Venice where Antonio the merchant is talking to his friends Salerio and Solanio . ANTONIO ...
Halaman 17
... true . But let's press on with our comparison of the two speeches . When I say yours is naturalistic it is not strictly true . It has poetic undertones which I want to look at later . I only mean it's natura- listic in comparison with ...
... true . But let's press on with our comparison of the two speeches . When I say yours is naturalistic it is not strictly true . It has poetic undertones which I want to look at later . I only mean it's natura- listic in comparison with ...
Halaman 20
... true to nature . " Ben Kingsley : Yes , it's a dangerous word and can be confusing . But I think if we're clear about what we mean by it then we're on much safer ground . Let's go back to the point we were making about balance . There ...
... true to nature . " Ben Kingsley : Yes , it's a dangerous word and can be confusing . But I think if we're clear about what we mean by it then we're on much safer ground . Let's go back to the point we were making about balance . There ...
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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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