Playing Shakespeare: An Actor's GuideKnopf Doubleday Publishing Group, 21 Agu 2001 - 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 28
... rhythm and a flow , it's perhaps more attractive to listen to and helps the actor to keep the audience's attention . Patrick Stewart : We're all talking about " verse . " But what we mean is not verse in the usual sense of rhymes or ...
... rhythm and a flow , it's perhaps more attractive to listen to and helps the actor to keep the audience's attention . Patrick Stewart : We're all talking about " verse . " But what we mean is not verse in the usual sense of rhymes or ...
Halaman 83
... rhythm of blank verse : " de - dum , de - dum , de - dum , de - dum , de - dum . " Prose has no set rhythm , and is much trickier to analyze . And yet the principle is still the same . The most fruitful approach is , I believe , the ...
... rhythm of blank verse : " de - dum , de - dum , de - dum , de - dum , de - dum . " Prose has no set rhythm , and is much trickier to analyze . And yet the principle is still the same . The most fruitful approach is , I believe , the ...
Halaman 89
... rhythm which an actor needs to go along with instinctively . It is clearly quite as strong as the rhythm of verse , so let's take one more example of a passage where a combination of strong stresses , antitheses and an overall driving ...
... rhythm which an actor needs to go along with instinctively . It is clearly quite as strong as the rhythm of verse , so let's take one more example of a passage where a combination of strong stresses , antitheses and an overall driving ...
Isi
The Two TraditionsElizabethan and Modern Acting | 3 |
Using the VerseHeightened and Naturalistic Verse | 27 |
Language and CharacterMaking the Words Ones Own | 56 |
Hak Cipta | |
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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 Tubal verse line verse-line VIOLA words
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