Shakespeare's StagecraftCambridge University Press, 1967 M10 2 - 244 páginas For many years, critics and students of Shakespeare have tended to stress that his plays are poetic structures embodying 'themes', and these structures have been analysed in great detail. Professor Styan advocates another approach. The plays were written for acting, in a theatre of a particular type. If we ask what effects this kind of theatre encouraged and how Shakespeare exploited them, the plays are seen as a sequence of stage-effects, planned with great art so as to enrich, reinforce and modify each other. Professor Styan begins with the known facts about the Elizabethan theatre, stressing the effect of the size of the apron stage, and the degree in which the spectators situated all around are involved in the action. It was a theatre of movement and grouping, and above all speech. Shakespeare's verse is full of suggestions about how it is to be delivered; it is, in Professor Styan's word, 'gestic'. Professor Styan shows in very many examples, quoting the text and examining its dramatic implications, what the words suggest about movement over the stage, about the relationship between groups of players on the stage, and about the delivery and dramatic effect of the words themselves. Thus we build up a new sense of the whole play. This is a convenient and comprehensive introduction to the study of Shakespeare's dramatic craftsmanship, which also reopens that direction of enquiry which Granville-Barker first explored. |
Dentro del libro
Resultados 1-5 de 55
Página v
J. L. Styan. CONTENTS Introduction I SHAKESPEARE'S THEATRE EQUIPMENT 1 Shakespeare's Stage The flexibility of Elizabethan theatre . The essential Elizabethan stage . The intimacy of the auditorium . The focus of the platform . A pair of ...
J. L. Styan. CONTENTS Introduction I SHAKESPEARE'S THEATRE EQUIPMENT 1 Shakespeare's Stage The flexibility of Elizabethan theatre . The essential Elizabethan stage . The intimacy of the auditorium . The focus of the platform . A pair of ...
Página vii
... Elizabethan actor on the stage or of the Elizabethan spectator in the playhouse . The need is still to see Shakespeare as the practical man with clear notions about what he wanted his actors to do for their audience , and to find , in ...
... Elizabethan actor on the stage or of the Elizabethan spectator in the playhouse . The need is still to see Shakespeare as the practical man with clear notions about what he wanted his actors to do for their audience , and to find , in ...
Página 1
... Elizabethan staging , although it may suggest a practical director's solution to some of them- the sort of answer found perforce by a busy man of the theatre . As a playwright Shakespeare was daily coming upon difficulties , and as a ...
... Elizabethan staging , although it may suggest a practical director's solution to some of them- the sort of answer found perforce by a busy man of the theatre . As a playwright Shakespeare was daily coming upon difficulties , and as a ...
Página 5
J. L. Styan. I SHAKESPEARE'S THEATRE EQUIPMENT I SHAKESPEARE'S STAGE THE FLEXIBILITY OF ELIZABETHAN THEATRE The unpredictable III.
J. L. Styan. I SHAKESPEARE'S THEATRE EQUIPMENT I SHAKESPEARE'S STAGE THE FLEXIBILITY OF ELIZABETHAN THEATRE The unpredictable III.
Página 7
Lo sentimos, el contenido de esta página está restringido..
Lo sentimos, el contenido de esta página está restringido..
Otras ediciones - Ver todas
Términos y frases comunes
acting action actor Angelo Antony and Cleopatra Antony's audience audience's auditorium aural balcony Banquo Brutus Brutus's Capulet Cassius character chorus Claudius comedy comic contrast convention Cordelia Coriolanus curtain dance death Desdemona downstage drama duologue effect Elizabethan stage Emilia Enobarbus Enter entrance exit eyes Falstaff feeling gesture Gloucester groups Hamlet heaven Henry Iago Iago's imagination irony Julius Caesar Kent King Lear Lady Leontes lines lord lovers Macbeth Merchant of Venice Midsummer Night's Dream mind mood movement murder Ophelia Orlando Othello pace pattern pause Phebe platform play play's players playhouse playwright poetry Prince prose Queen rhythm Richard Richard II Roman Romeo and Juliet Rosalind scene seems sense sequence Servingman Shakespeare Shakespearian silent soliloquy speak spectator spectator's speech stage direction stagecraft suggest symbolic theatre theatrical thee theme thou tone tragedies Troilus and Cressida Twelfth Night Tybalt verbal verse Viola visual voice Winter's Tale words