Nick Hern Books, 2007 - 274 ページ
Drawing on a lifetime’s experience of playing Shakespearean roles, Oliver Ford Davies offers practical advice to actors, directors, and drama students on a wide variety of scenes, characters, speeches, and individual lines from almost every one of the plays. An authoritative, hands-on guide through the practical challenges involved in performing Shakespeare.
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As Granville Barker puts it : With Hamlet , character for the first time totally defeats plot . The discovery which turned Shakespeare from a good dramatist into a great one was that the outward clashing of character with character is ...
But the Hamlet I played had absolutely no desire to sexually assault his mother , partly from love , respect and fear , and partly because the whole world of sex had , in this Hamlet's mind , become distorted and diseased .
Does Hamlet go mad ? When I began to read the play carefully , there seemed to be only one scene , with Polonius , where Hamlet talks in that strange , seemingly incoherent way that we associate with Shakespeare's ' mad language ' ( cf.
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THE ELIZABETHAN ACTOR 3 The Roots of Elizabethan Theatre
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