Directing Shakespeare in America: current practices
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; Oxford ; New York ; New Delhi ; Sydney
Bloomsbury Arden Shakespeare
2016
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xiv, 362 Seiten Illustrationen |
| ISBN: | 9781474239844 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Titel: Directing Shakespeare in America
Autor: Ney, Charles
Jahr: 2016
Directing Shakespeare in America Current Practices Charles Ney Bloomsbury Anion Shakespeare An imprint of Bloomsbury Publishing Pic BLOOMS BURY I.OMJOX • OXFORD • MOV YORK • XKW I)].I.I [I • SYDXFY
CONTENTS List of Illustrations x Acknowledgements xiii Introduction l Part I Core Beliefs about Directing Shakespeare 1 Text and Context 7 British influences on US practice 7 Other studies 10 Recent developments 16 2 The Directors and their Aesthetic Values 25 Shakespeare as contemporary 35 Endless possibilities 37 Complexity in Shakespeare 41 The invisible director 45 The interpretive director 48 The language and text director 55 The original practice director 64 The physical and visceral director 68 Mixing approaches 74 The inclusive director 79
VI CONTENTS Part II Preparations for Rehearsal and Production 3 Developing an Approach 89 Given circumstances 94 Images 95 Critical scenes/central issues 95 Questions of interpretation 97 Point of view 100 Following an Elizabethan model LOI Concepts 103 Challenges and limitations of concepts 105 Examples of context approaches 106 4 Research and Analysis 115 Research 118 Analysis 123 5 Preparing the Production Text 129 Consulting different editions 133 Punctuation 133 Cutting 134 Transposing scenes 140 Replacing, emending and adapting 142 6 Working with Designers 1 45 Preparing for design meetings 149 Talking with designers 154 Attitudes about working with designers 157 I wo contrasting views on design approach 162 Ground plans 162
CONTENTS vii 7 Casting 165 Desirable qualities for Shakespeare 168 Racial diversity in casting 173 Cross gender casting 176 Part III Rehearsing the Production 8 Beginning Rehearsals 1 8 1 First day 1 84 Working with actors 186 Goals, atmosphere, energy 192 9 Table Work 1 97 Everyone at the table versus scene-by-scene 201 Meaning and comprehension 204 Punctuation, scansion, language analysis 206 Story 208 Getting the company on the same page 209 Event, structure, energy shifts 210 Developing layers 212 Going back to table work 214 Image chains 214 10 Staging the Play 217 Moving from table work to staging 221 Blocking 223 Sketching a structure or frame 225 Organic blocking; improvising the staging 230 Designs and blocking 234 Transitions 235 Additional advice on staging 238
CONTENTS viii 11 Speaking Shakespeare’s Language 24 1 Qualities and objectives 244 Phrasing and word choice 249 Rhetoric and language structure 253 Stresses and operatives 254 Rhythm and pacing 255 Physical language 258 Later rehearsals 259 12 Middle Stage Rehearsals 261 After the first week 266 Character issues 274 Subtext and motivation 278 Shaping 281 Run-throughs 282 Giving notes 286 Rehearsal schedules and time management 289 Part IV Finishing the Production 13 Tech and Dress Rehearsals 297 Possibilities 300 Problems/challenges 301 Original practice tech/dresses 302 An opportunity for improvement and change 305 A description of tech for The Merchant of Venice 307 Moving on 308 14 Adding the Audience 309 Number of previews 312 Using and assessing previews 313
CONTENTS IX Opening 320 After opening 323 Conclusion 327 Interviews Conducted 331 Notes 335 Select Bibliography 341 Index 343
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