Reading Shakespeare on StageUniversity of Delaware Press, 1995 - 298 páginas "Reading Shakespeare on Stage offers a straightforward set of criteria whereby anyone, from the first-time playgoer to the most experienced Shakespearean scholar, may evaluate his or her response to a production of one of Shakespeare's scripts. This articulation of response is not a by-product of going to the theater, but a central part of the experience. The "invitation to response" is a function of Shakespeare's stage, which was open to the audience on three sides, and is incorporated into his scripts through soliloquies, asides, and references to Shakespeare's stage and his dramaturgy." "The concept of "script" (as opposed to "text") makes possible an approach to Shakespeare's plays as plays, a function to which their literary quality is subordinate. That fact, however, does not mean that recent critical tendencies are irrelevant to the scripts. Feminist and historicist readings of the plays are "contextualized" in and by the ongoing energy system of production. It remains true, however, that many members of the growing audience for live performances can not determine what may have been strong or weak about a given production. The size and shape of the stage and the size of the auditorium, for example, define what can occur within the given space, but few spectators take that crucial factor into account. Reading Shakespeare on Stage provides the criteria for evaluation, while at the same time admitting that the criteria themselves are subject to debate and that their application emerges from the subjective psychology of perception of individual spectators."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved |
Dentro del libro
Resultados 1-5 de 87
Página
... audience on three sides , and is incorporated into his scripts through soliloquies , asides , and references to Shakespeare's stage and his dramaturgy . The concept of " script " ( as opposed to " text " ) makes possible an approach to ...
... audience on three sides , and is incorporated into his scripts through soliloquies , asides , and references to Shakespeare's stage and his dramaturgy . The concept of " script " ( as opposed to " text " ) makes possible an approach to ...
Página 18
... audience . He does so by using his space effectively . That seems a simplistic statement , but all spaces present challenges , as do all scripts . Julius Caesar , for example , has " big " scenes that may seem cramped and compromised in ...
... audience . He does so by using his space effectively . That seems a simplistic statement , but all spaces present challenges , as do all scripts . Julius Caesar , for example , has " big " scenes that may seem cramped and compromised in ...
Página 19
... audience have dimin- ished for that reason . Chapter Three will deal with the concept of space at length , as will discussions of many of the productions . For now though , I'll provide a brief example . The McDonogh Players ( Maryland ) ...
... audience have dimin- ished for that reason . Chapter Three will deal with the concept of space at length , as will discussions of many of the productions . For now though , I'll provide a brief example . The McDonogh Players ( Maryland ) ...
Página 20
... If the set dazzles the audience but inhibits the actors , it is a bad set . Cos- tumes , on the other hand , should represent the characters and / or their status in the play — unless , of 20 READING SHAKESPEARE ON STAGE.
... If the set dazzles the audience but inhibits the actors , it is a bad set . Cos- tumes , on the other hand , should represent the characters and / or their status in the play — unless , of 20 READING SHAKESPEARE ON STAGE.
Página 21
... audience to learn who the characters are and what their relationships to each other are . The eclectic approach can work well , however , as demon- strated through the " rehearsal clothes " that John Gielgud used for his 1964 version of ...
... audience to learn who the characters are and what their relationships to each other are . The eclectic approach can work well , however , as demon- strated through the " rehearsal clothes " that John Gielgud used for his 1964 version of ...
Contenido
Television and Live Performance | 31 |
The Concept of Script | 39 |
1987 and the Question of Space | 69 |
Directors Decisions 1989 | 90 |
The Summer of King Lear | 136 |
Winter of the Scottish Play | 157 |
Measure for Measure at Stratford Canada 1992 | 175 |
The Good the Horrid and the InBetween | 186 |
The Directors and the Critics Stratford on Avon 1992 | 213 |
Richard III Large and Small | 234 |
London February 1993 | 249 |
Postscript | 263 |
Appendix | 268 |
Works Cited | 277 |
291 | |
Términos y frases comunes
24 April acting actors Alexander Antony audience auditorium August Beale become Billington Bolingbroke Branagh Brian Cox Caesar characters Claudius Cleopatra concept Cordelia costumes create critics David director downstage duction Duke Edmund effect Elizabethan emotional emphasis film Fool Gertrude Ghost Gloucester Goneril Hall's Hamlet Helena Hulce Irving Wardle Isabella John July June Kenneth Branagh King Lear Lear's Lepage Lepage's London Main Stage Malvolio Mark Rylance McKellen Measure for Measure Michael modern National Theatre Nightingale Olivier Othello performance Photo play's Player political Polonius Portia production proscenium Regan response Review Richard Richard III Robert role Royal National Theatre Royal Shakespeare Company Rylance Sally Dexter says scene script seems sense sexual Shake Shakespeare Bulletin Shakespeare Quarterly Shakespeare's plays Shrew Shylock Simon Russell Beale Smallwood soliloquy space spectator speech Stratford Stratford-on-Avon suggested Taming television Thalbach theatrical tion Twelfth Night upstage Warner's words
Pasajes populares
Página 29 - A strong presence of actors and a strong presence of spectators can produce a circle of unique intensity in which barriers can be broken and the invisible become real.