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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Página ii
... AUDIENCE THE SHAKESPEARE REVOLUTION MODERN DRAMA IN THEORY AND PRACTICE VOL . 1 : REALISM AND NATURALISM VOL . 2 : SYMBOLISM AND THE ABSURD VOL . 3 : EXPRESSIONISM AND EPIC THEATRE SHAKESPEARE'S STAGECRAFT BY J.L.STYAN CAMBRIDGE ...
... AUDIENCE THE SHAKESPEARE REVOLUTION MODERN DRAMA IN THEORY AND PRACTICE VOL . 1 : REALISM AND NATURALISM VOL . 2 : SYMBOLISM AND THE ABSURD VOL . 3 : EXPRESSIONISM AND EPIC THEATRE SHAKESPEARE'S STAGECRAFT BY J.L.STYAN CAMBRIDGE ...
Página v
... audience . Exit . 4 Grouping on the Open Stage Planning for three dimensions . The duologue visualized . Spatial distinctions between characters . The importance of upstage and downstage . Speaking to the audience . The ways of ...
... audience . Exit . 4 Grouping on the Open Stage Planning for three dimensions . The duologue visualized . Spatial distinctions between characters . The importance of upstage and downstage . Speaking to the audience . The ways of ...
Página vi
... audience and dramatic form . The study of Shakespeare in the theatre . Selected Bibliography 195 Index of Subjects Index of Proper Names Index of Scenes The Swan Theatre , London , drawn by Johannes de Witt The Hall of the Middle Temple ...
... audience and dramatic form . The study of Shakespeare in the theatre . Selected Bibliography 195 Index of Subjects Index of Proper Names Index of Scenes The Swan Theatre , London , drawn by Johannes de Witt The Hall of the Middle Temple ...
Página 1
... audience to use its eyes , and when its ears ? When both ? What effect had the depth of his platform stage on the kind of theatre he created ? What powers did the proximity of the spectator lend the actor ? What range of voice did he ...
... audience to use its eyes , and when its ears ? When both ? What effect had the depth of his platform stage on the kind of theatre he created ? What powers did the proximity of the spectator lend the actor ? What range of voice did he ...
Página 3
... audience resides in part in the temporal accumulation and control of its effects , then such designs as those woven by the rhythm of speech or movement , or the change or intensifying of their tone or manner , must also be indicative of ...
... audience resides in part in the temporal accumulation and control of its effects , then such designs as those woven by the rhythm of speech or movement , or the change or intensifying of their tone or manner , must also be indicative of ...
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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