Acting with Style, 10. kötetPrentice-Hall, 1982 - 292 oldal From preface: This book is aimed at helping the actor discover what kind of play he is in--to identify the stylistic clues--and then come to a physical awareness of how it should be played. |
Részletek a könyvből
1 - 3 találat összesen 68 találatból.
58. oldal
... Shakespeare's scenes sim- ply require actors and a bare stage - not even a stool is called for in the text . In several plays Shakespeare tells us where we are the forest of Arden , Illyria , Troy - and in many in- stances where the ...
... Shakespeare's scenes sim- ply require actors and a bare stage - not even a stool is called for in the text . In several plays Shakespeare tells us where we are the forest of Arden , Illyria , Troy - and in many in- stances where the ...
59. oldal
... Shakespeare's work tends towards open rather than closed forms . The Elizabethan period had a centrifugal sense of life , of a world moving outwards from the core . It took the enquiring thrust of humanism from the Renaissance , but not ...
... Shakespeare's work tends towards open rather than closed forms . The Elizabethan period had a centrifugal sense of life , of a world moving outwards from the core . It took the enquiring thrust of humanism from the Renaissance , but not ...
67. oldal
... Shakespeare's day . In the passage from Macbeth the references to crows , woods , and sewing are everyday and countrified . Wilson Knight , in illustrating Shakespeare's use of daily experience , tells of meeting two countrymen in ...
... Shakespeare's day . In the passage from Macbeth the references to crows , woods , and sewing are everyday and countrified . Wilson Knight , in illustrating Shakespeare's use of daily experience , tells of meeting two countrymen in ...
Tartalomjegyzék
PLAYING TRAGEDY | 9 |
SHAKESPEARE | 48 |
PLAYING COMEDY | 99 |
Copyright | |
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Gyakori szavak és kifejezések
absurd theatre achieve acter acting action activity actor American Conservatory Theatre Artaud Artaudian theatre attitude audi audience aware Bald Soprano basic Beckett become Bertolt Brecht body Brecht century char character mask character's chorus circle clothing Coach the players comedy of manners comic commedia confrontation costume create dance demands dialectical Dionysus discover drama dynamic Elizabethan emotional ence energy epic epic theatre essential event exercise explore farce feeling focus function gesture give Greek tragedy Harpagon hieroglyph human humor images impulse intensity Ionesco language man's Marxism meaning ment Molière moral move movement nature performance physical play playwright poetic political realistic reality response reveal rhythmical rhythms ritual Royal Shakespeare Company scene sense sensibility sexual Shakespeare's simple situation slapstick social mask society space speech spine spirit stage strong structure style suggested tends theatrical tion truth verbal verse Waiting for Godot words