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 4
... verse and his prose. I believe that the kind of points We shall be making in these workshops work best in the theater, not by a director telling an actor about them but by an actor learning them, largely by experience, and applying them ...
... verse and his prose. I believe that the kind of points We shall be making in these workshops work best in the theater, not by a director telling an actor about them but by an actor learning them, largely by experience, and applying them ...
Halaman 4
... verse and his prose . I believe that the kind of points we shall be making in these workshops work best in the theater , not by a direc- tor telling an actor about them but by an actor learning them , largely by experience , and ...
... verse and his prose . I believe that the kind of points we shall be making in these workshops work best in the theater , not by a direc- tor telling an actor about them but by an actor learning them , largely by experience , and ...
Halaman 17
... verse and not prose . But it's occurred to me that I probably did it absolutely wrong and far too slow and rumi- natively because Salerio says , " Your mind is tossing on the ocean . " That's probably true . But let's press on with our ...
... verse and not prose . But it's occurred to me that I probably did it absolutely wrong and far too slow and rumi- natively because Salerio says , " Your mind is tossing on the ocean . " That's probably true . But let's press on with our ...
Halaman 23
... verse - line , " Is't possible , my lord ? " after all the color and the richness that has gone before . Con- trast , ringing the changes : Shakespeare does it over and over . It's true that a heightened speech may lift the emotional ...
... verse - line , " Is't possible , my lord ? " after all the color and the richness that has gone before . Con- trast , ringing the changes : Shakespeare does it over and over . It's true that a heightened speech may lift the emotional ...
Halaman 26
... trying to get in touch with that tradition . So , I repeat , marrying the two traditions : it's an idea that we will keep coming back to . CHAPTER TWO Using the Verse Heightened and Naturalistic Verse [ 26 PLAYING SHAKESPEARE.
... trying to get in touch with that tradition . So , I repeat , marrying the two traditions : it's an idea that we will keep coming back to . CHAPTER TWO Using the Verse Heightened and Naturalistic Verse [ 26 PLAYING SHAKESPEARE.
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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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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