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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... EXPERIENCE CHEKHOV IN PERFORMANCE DRAMA , STAGE AND 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 ...
... EXPERIENCE CHEKHOV IN PERFORMANCE DRAMA , STAGE AND 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 ...
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... experience . The debt to Granville - Barker's way of looking at Shakespearian drama , as an actors ' structure of pressures and contrasts directed at an audience , will be seen in the pages that follow . He aimed to blow away the ...
... experience . The debt to Granville - Barker's way of looking at Shakespearian drama , as an actors ' structure of pressures and contrasts directed at an audience , will be seen in the pages that follow . He aimed to blow away the ...
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... experience . To examine the manner in which his imagination takes objective form , to gain a close view of the practical man at work with the mechanics of his craft , is to glimpse the depths of that imagination . The separation of one ...
... experience . To examine the manner in which his imagination takes objective form , to gain a close view of the practical man at work with the mechanics of his craft , is to glimpse the depths of that imagination . The separation of one ...
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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