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. |
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J. L. Styan. SHAKESPEARE'S STAGECRAFT What , a play toward ? I'll be an auditor , An actor too perhaps , if I see cause . PUCK By the same author THE ELEMENTS OF DRAMA THE DARK.
J. L. Styan. SHAKESPEARE'S STAGECRAFT What , a play toward ? I'll be an auditor , An actor too perhaps , if I see cause . PUCK By the same author THE ELEMENTS OF DRAMA THE DARK.
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... Actor and atmosphere on a neutral stage . A note on sex and the boy actor . The daylight convention . The localizing convention . Dramatizing time . II SHAKESPEARE'S VISUAL CRAFT 3 The Actor and his Movement Shakespeare as director ...
... Actor and atmosphere on a neutral stage . A note on sex and the boy actor . The daylight convention . The localizing convention . Dramatizing time . II SHAKESPEARE'S VISUAL CRAFT 3 The Actor and his Movement Shakespeare as director ...
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... actor's contribution . Building the action . Shifts of tempo , mood and perspective . Extension into symbolism and ritual . An ' epic ' structure . The audience and dramatic form . The study of Shakespeare in the theatre . Selected ...
... actor's contribution . Building the action . Shifts of tempo , mood and perspective . Extension into symbolism and ritual . An ' epic ' structure . The audience and dramatic form . The study of Shakespeare in the theatre . Selected ...
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... actor . Although a start has been made to examine the acting and speaking tradition , the intentions of the ' word - scenery ' and Shakespeare's ' gestic imagination ' , the detailed labour of the Cambridge editors has not yet ...
... actor . Although a start has been made to examine the acting and speaking tradition , the intentions of the ' word - scenery ' and Shakespeare's ' gestic imagination ' , the detailed labour of the Cambridge editors has not yet ...
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... actor ? What range of voice did he demand of his actor , and what combinations and contrasts of tone did he exercise ? How did the chop and change of scene determine the shape of his action on the swift stage of the Globe ? The book ...
... actor ? What range of voice did he demand of his actor , and what combinations and contrasts of tone did he exercise ? How did the chop and change of scene determine the shape of his action on the swift stage of the Globe ? The book ...
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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