Shakespeare in PartsOUP Oxford, 27 сент. 2007 г. - Всего страниц: 560 A truly groundbreaking collaboration of original theatre history with exciting literary criticism, Shakespeare in Parts is the first book fully to explore the original form in which Shakespeare's drama overwhelmingly circulated. This was not the full play-text; it was not the public performance. It was the actor's part, consisting of the bare cues and speeches of each individual role. With group rehearsals rare or non-existent, the cued part alone had to furnish the actor with his character. But each such part-text was riddled with gaps and uncertainties. The actor knew what he was going to say, but not necessarily when, or why, or to whom; he may have known next to nothing of any other part. It demanded the most sensitive attention to the opportunities inscribed in the script, and to the ongoing dramatic moment. Here is where the young actor Shakespeare learnt his trade; here is where his imagination, verbal and technical, learnt to roam. This is the story of Shakespeare in Parts. As Shakespeare developed his playwriting, the apparent limitations of the medium get transformed into expressive opportunities. Both cue and speech become promise-crammed repositories of meaning and movement, and of individually discoverable space and time. Writing always for the same core group of players, Shakespeare could take - and insist upon - unprecedented risks. The result is onstage drama of astonishing immediacy. Starting with a comprehensive history of the part in early modern theatre, Simon Palfrey and Tiffany Stern's mould-altering work of historical and imaginative recovery provides a unique keyhole onto hitherto forgotten practices and techniques. It not only discovers a newly active, choice-ridden actor, but a new Shakespeare. |
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Стр. 3
... thing as 'the play-text': or rather, his part was the play-text in so far as he ever got hold of it. Here is where the young Shakespeare learnt his trade; here is where his imagination, verbal and technical, learnt to roam. The part ...
... thing as 'the play-text': or rather, his part was the play-text in so far as he ever got hold of it. Here is where the young Shakespeare learnt his trade; here is where his imagination, verbal and technical, learnt to roam. The part ...
Стр. 5
... things fresh. Mutual knowledge, trust, and confidence—Shakespeare's of and in his actors, his actors' of and in him—allowed for, and perhaps created, the boundary-bending energy of his plays. Shakespeare knew that the actors would pick ...
... things fresh. Mutual knowledge, trust, and confidence—Shakespeare's of and in his actors, his actors' of and in him—allowed for, and perhaps created, the boundary-bending energy of his plays. Shakespeare knew that the actors would pick ...
Стр. 10
... think, in many ways revelatory of the early modern theatre; so too, we hope, are the methods we are pioneering in its study. If these things are to become more widely known, then by far the best means is a 10 introduction.
... think, in many ways revelatory of the early modern theatre; so too, we hope, are the methods we are pioneering in its study. If these things are to become more widely known, then by far the best means is a 10 introduction.
Стр. 18
... thing that cannot be replicated here is the state of the roll: it is, like all of them, described as being (surprisingly) 'carelessly written and full of error'.12 blan J'ay le cherubin ja tout blan! De la bulure ja je suis mort! veisez ...
... thing that cannot be replicated here is the state of the roll: it is, like all of them, described as being (surprisingly) 'carelessly written and full of error'.12 blan J'ay le cherubin ja tout blan! De la bulure ja je suis mort! veisez ...
Стр. 21
... thing, dost thou not knowe, wherfore I cald the neither why knowest thou not, nay nothing thou mayst be gonne, stay, stay villayne I tell the Angelica is dead, nay she is in deed lord but my Angelica is dead. my lord he beates. A. Small ...
... thing, dost thou not knowe, wherfore I cald the neither why knowest thou not, nay nothing thou mayst be gonne, stay, stay villayne I tell the Angelica is dead, nay she is in deed lord but my Angelica is dead. my lord he beates. A. Small ...
Содержание
1 | |
13 | |
II INTERPRETING CUES | 81 |
III REPEATED CUES | 155 |
IV THE ACTOR WITH HIS PART | 309 |
Notes | 495 |
Bibliography | 519 |
Index | 533 |
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Часто встречающиеся слова и выражения
acting action actor allow answer audience basic becomes begins body character clear clearly comes context continue couplets course cued decisive direction distinctive early effect emotional Enter entrance example exit expect fact feel final follow foole give given hand happens heare identify immediately instruction interruption kind King Lady Lear learned less look Lord Macbeth marks means midline mind moment move movement never offer on-stage once opening part’s particular passion pause performance perhaps play players possible present prose question reading rehearsal remains repeated cues repetition response rhetorical rhyme Richard role Romeo scene script seems sense Shakespeare shared shift short shows Shylock simply single soliloquy space speak speech spoken stage suggests switch technique tell theatre thee thing thinke thou thought turn University verse writing written