Playing ShakespeareTogether with Royal Shakespeare Company actors including Patrick Stewart, Judi Dench, Ian McKellen, Ben Kingsley, and David Suchet, director John Barton demonstrates how to adapt Elizabethan theater for the modern stage. Barton 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. |
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Page 52
... perhaps worth pointing to some words whose richness is not so apparent today . Shakespeare's pronunciation was different from ours , it was rougher and perhaps more onomatopoeic . ' War ' for instance was pronounced ' Wahrre ' ; and ...
... perhaps worth pointing to some words whose richness is not so apparent today . Shakespeare's pronunciation was different from ours , it was rougher and perhaps more onomatopoeic . ' War ' for instance was pronounced ' Wahrre ' ; and ...
Page 159
... Perhaps Shakespeare deliberately built in a bit of comedy by writing in a pause there after the short line ' Like the old age ' . But let me say one thing about the song . Its nature is of course described by Orsino himself : it is ...
... Perhaps Shakespeare deliberately built in a bit of comedy by writing in a pause there after the short line ' Like the old age ' . But let me say one thing about the song . Its nature is of course described by Orsino himself : it is ...
Page 198
... Perhaps we should read Shakespeare to ourselves more often when we're rehearsing him . Perhaps there's a moral in that . It touches on something that we don't think about when we're worrying about character and moves and situation and ...
... Perhaps we should read Shakespeare to ourselves more often when we're rehearsing him . Perhaps there's a moral in that . It touches on something that we don't think about when we're worrying about character and moves and situation and ...
Contents
Foreword by Trevor Nunn page | 1 |
Objective Things | 5 |
The Two TraditionsElizabethan and Modern Acting | 6 |
Copyright | |
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actor actually Alan Howard ambiguity antitheses Antonio audience Barbara Leigh-Hunt believe Ben Kingsley blank verse Brutus Caesar character course Cressida David Suchet de-dum death Desdemona director Donald Sinden dost doth Elizabethan EMILIA emotions 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 perhaps Playing Shakespeare poetic poetry PORTIA prose question rehearsal rhythm Richard Pasco Roger Rees scene sense sentence Shakespeare's text Sheila Hancock Shylock soliloquy sometimes sonnet sooth I know sounds speak speech strong stresses talking tell theatre thee there's thing thou thought Tony Church tradition Troilus Tubal verse line verse-line VIOLA words