Shakespeare and the actor:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Oxford, United Kingdom
Oxford University Press
2022
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| Ausgabe: | First edition |
| Schriftenreihe: | Oxford Shakespeare topics
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | x, 154 Seiten |
| ISBN: | 9780198852629 9780198852612 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents 1. The Idea of the Shakespearian Actor 1 2. Training 17 3. Directors 35 4. Text 54 5. Roles 72 6. Audiences 89 7. Trends Notes Further Reading Index 107 121 139 147
What is a ‘Shakespearean actor’? Does the term still have anv meaning? Drawing on the biographical and autobiographical accounts of actors and directors, as well as on interviews with actors from a wide range of backgrounds, this book looks at these questions in a variet)՜ ot contexts, historical and contemporan՛. A survey of the training ot the classical actor, with its increasing vocal and physical demands, considers how it, like its subsequent career path, is affected bv class and gender, ditere is discussion of the uneasv balance of porver between actors and directors, rehearsal practice, the difficulties faced bv women as performers and directors, and attempts at undirected productions. Other chapters consider the roles that actors do and don’t want to plav, and why, their relation to the Shakespeare text and editorial practice, the complex relationship between actor and audience, and the popularite՛ of anecdotes about things that go evrong. Throughout, examples are taken, as far as possible, from the author’s own long experience of theatre going. A final chapter looks at new trends in the theatre that have been accelerated bv the long period of closure during the pandemic, particularlv attempts at greater inclusivity in both actors and audiences. It concludes that the main reason Shakespeare is performed is that actors want to plav the roles he rvrote.
|
| adam_txt |
Contents 1. The Idea of the Shakespearian Actor 1 2. Training 17 3. Directors 35 4. Text 54 5. Roles 72 6. Audiences 89 7. Trends Notes Further Reading Index 107 121 139 147
What is a ‘Shakespearean actor’? Does the term still have anv meaning? Drawing on the biographical and autobiographical accounts of actors and directors, as well as on interviews with actors from a wide range of backgrounds, this book looks at these questions in a variet)՜ ot contexts, historical and contemporan՛. A survey of the training ot the classical actor, with its increasing vocal and physical demands, considers how it, like its subsequent career path, is affected bv class and gender, ditere is discussion of the uneasv balance of porver between actors and directors, rehearsal practice, the difficulties faced bv women as performers and directors, and attempts at undirected productions. Other chapters consider the roles that actors do and don’t want to plav, and why, their relation to the Shakespeare text and editorial practice, the complex relationship between actor and audience, and the popularite՛ of anecdotes about things that go evrong. Throughout, examples are taken, as far as possible, from the author’s own long experience of theatre going. A final chapter looks at new trends in the theatre that have been accelerated bv the long period of closure during the pandemic, particularlv attempts at greater inclusivity in both actors and audiences. It concludes that the main reason Shakespeare is performed is that actors want to plav the roles he rvrote. |
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| discipline | Anglistik / Amerikanistik |
| discipline_str_mv | Anglistik / Amerikanistik |
| edition | First edition |
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| isbn | 9780198852629 9780198852612 |
| language | English |
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| title | Shakespeare and the actor |
| title_alt | Shakespeare & the actor |
| title_auth | Shakespeare and the actor |
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