Shakespeare in Parts
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30 576 Ft (29 120 Ft + 5% áfa)
Az ár azért becsült, mert a rendelés pillanatában nem lehet pontosan tudni, hogy a beérkezéskor milyen lesz a forint árfolyama az adott termék eredeti devizájához képest. Ha a forint romlana, kissé többet, ha javulna, kissé kevesebbet kell majd fizetnie.
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Iratkozzon fel most és részesüljön kedvezőbb árainkból!
Feliratkozom
30 576 Ft
Beszerezhetőség
Megrendelésre a kiadó utánnyomja a könyvet. Rendelhető, de a szokásosnál kicsit lassabban érkezik meg.
Why don't you give exact delivery time?
A beszerzés időigényét az eddigi tapasztalatokra alapozva adjuk meg. Azért becsült, mert a terméket külföldről hozzuk be, így a kiadó kiszolgálásának pillanatnyi gyorsaságától is függ. A megadottnál gyorsabb és lassabb szállítás is elképzelhető, de mindent megteszünk, hogy Ön a lehető leghamarabb jusson hozzá a termékhez.
A termék adatai:
- Kiadó OUP Oxford
- Megjelenés dátuma 2007. szeptember 27.
- ISBN 9780199272051
- Kötéstípus Keménykötés
- Terjedelem560 oldal
- Méret 240x160x32 mm
- Súly 1096 g
- Nyelv angol
- Illusztrációk 4 halftones 0
Kategóriák
Rövid leírás:
Shakespeare's drama originally circulated in the form of the individual actor's part, containing only a single character's speeches and brief cues. This unique collaboration of original theatre history with exciting literary criticism captures anew Shakespeare's development as a writer, showing how scripting and acting work together to produce characters of unprecedented immediacy.
TöbbHosszú leírás:
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.
Elegantly written...a ground-breaking study, which shows how Shakespeare the technician sought always to expand the mental possibilities for the actors.
Tartalomjegyzék:
INTRODUCTION
I: HISTORY
The Actor's Part
The Actors
Rehearsing and Performing
II: INTERPRETING CUES
History of the Cue
Interpreting Shakespeare's Cues
Cues and Characterisation
Waiting and Suddenness: the Part in Time
Repeated Cues
Repeated cues: from Crowds to Clowns
Repeated cues: comi-tragic/tragic-comic pathos
Repeated cues and the battle for the cue-space: The Merchant of Venice
Repeated cues and tragedy
Repeated cues and the cue-space in King Lear
Repeated cues and post-tragic effects
Repeated Cues and the Cue-Space in The Tempest
III: THE ACTOR WITH HIS PART
History
Dramatic prosody
Prosodic Switches: From Actor's Prompt to Absent Presence
Midline shifts in 'mature' Shakespeare: from actorly instruction to 'virtual' presence
Case studies: six romantic heroines and three lonely men
