Playing Shakespeare: An Actor's GuideKnopf Doubleday Publishing Group, 1984 - 288 Seiten 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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Seite 173
... passion you must acquire and beget a temperance that may give it smoothness . " A temperance . But please understand that I'm not trying to cry down or run away from expressing emotion . What I am saying is that an actor needs to be ...
... passion you must acquire and beget a temperance that may give it smoothness . " A temperance . But please understand that I'm not trying to cry down or run away from expressing emotion . What I am saying is that an actor needs to be ...
Seite 177
... passion . CONSTANCE ( Susan Fleetwood , passionately ) : O that my tongue were in Then with a passion would I shake the world ... the thunder's mouth ! King John : III.4 . Let's take this passage , much cut , and see what we can learn ...
... passion . CONSTANCE ( Susan Fleetwood , passionately ) : O that my tongue were in Then with a passion would I shake the world ... the thunder's mouth ! King John : III.4 . Let's take this passage , much cut , and see what we can learn ...
Seite 185
... passion but notice how practical the lines are as well . I want it to move you as it always moves me . I always weep when Shakespeare handles the theme of a lost thing found . And at the end of The Winter's Tale , King Leontes thinks ...
... passion but notice how practical the lines are as well . I want it to move you as it always moves me . I always weep when Shakespeare handles the theme of a lost thing found . And at the end of The Winter's Tale , King Leontes thinks ...
Inhalt
The Two Traditions Elizabethan and Modern Acting | 3 |
Using the Verse Heightened and Naturalistic Verse | 27 |
Language and Character Making the Words Ones Own | 56 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
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 question rehearsal rhythm Richard Pasco Roger Rees scene sense Shake Shakespeare's text Sheila Hancock Shylock soliloquy sonnet sooth I know sounds speak speare strong stresses talking tell theater thee there's thing thou thought Tony Church Troilus Tubal verse line verse-line VIOLA words