eBook - ePub
Thinking Shakespeare (Revised Edition)
A working guide for actors, directors, studentsâŠand anyone else interested in the Bard
Barry Edelstein
This is a test
Partager le livre
- English
- ePUB (adapté aux mobiles)
- Disponible sur iOS et Android
eBook - ePub
Thinking Shakespeare (Revised Edition)
A working guide for actors, directors, studentsâŠand anyone else interested in the Bard
Barry Edelstein
DĂ©tails du livre
Aperçu du livre
Table des matiĂšres
Citations
Ă propos de ce livre
Thinking Shakespeare gives theater artists practical advice about how to make Shakespeare's words feel spontaneous, passionate, and real. Based on Barry Edelstein's thirty-year career directing Shakespeare's plays, this book provides the tools that artists need to fully understand and express the power of Shakespeare's language.
Foire aux questions
Comment puis-je résilier mon abonnement ?
Il vous suffit de vous rendre dans la section compte dans paramĂštres et de cliquer sur « RĂ©silier lâabonnement ». Câest aussi simple que cela ! Une fois que vous aurez rĂ©siliĂ© votre abonnement, il restera actif pour le reste de la pĂ©riode pour laquelle vous avez payĂ©. DĂ©couvrez-en plus ici.
Puis-je / comment puis-je télécharger des livres ?
Pour le moment, tous nos livres en format ePub adaptĂ©s aux mobiles peuvent ĂȘtre tĂ©lĂ©chargĂ©s via lâapplication. La plupart de nos PDF sont Ă©galement disponibles en tĂ©lĂ©chargement et les autres seront tĂ©lĂ©chargeables trĂšs prochainement. DĂ©couvrez-en plus ici.
Quelle est la différence entre les formules tarifaires ?
Les deux abonnements vous donnent un accĂšs complet Ă la bibliothĂšque et Ă toutes les fonctionnalitĂ©s de Perlego. Les seules diffĂ©rences sont les tarifs ainsi que la pĂ©riode dâabonnement : avec lâabonnement annuel, vous Ă©conomiserez environ 30 % par rapport Ă 12 mois dâabonnement mensuel.
Quâest-ce que Perlego ?
Nous sommes un service dâabonnement Ă des ouvrages universitaires en ligne, oĂč vous pouvez accĂ©der Ă toute une bibliothĂšque pour un prix infĂ©rieur Ă celui dâun seul livre par mois. Avec plus dâun million de livres sur plus de 1 000 sujets, nous avons ce quâil vous faut ! DĂ©couvrez-en plus ici.
Prenez-vous en charge la synthÚse vocale ?
Recherchez le symbole Ăcouter sur votre prochain livre pour voir si vous pouvez lâĂ©couter. Lâoutil Ăcouter lit le texte Ă haute voix pour vous, en surlignant le passage qui est en cours de lecture. Vous pouvez le mettre sur pause, lâaccĂ©lĂ©rer ou le ralentir. DĂ©couvrez-en plus ici.
Est-ce que Thinking Shakespeare (Revised Edition) est un PDF/ePUB en ligne ?
Oui, vous pouvez accĂ©der Ă Thinking Shakespeare (Revised Edition) par Barry Edelstein en format PDF et/ou ePUB ainsi quâĂ dâautres livres populaires dans Medien & darstellende Kunst et Schauspielerei & Vorsprechen. Nous disposons de plus dâun million dâouvrages Ă dĂ©couvrir dans notre catalogue.
Informations
Sous-sujet
Schauspielerei & VorsprechenACT III
ACT III
CHAPTER âNoâ 9
SWEET, VARIED NOTES
THE MUSIC OF THE LANGUAGE, AND ITS RHYTHM, TEMPO, AND PACE
In Shakespeareâs violent early tragedy Titus Andronicus, the beautiful and innocent Lavinia, daughter of the title character, is brutally raped. Reenacting a famous story from Greek mythology, her attackers cut her tongue out of her mouth so that she wonât be able to name them. (Rough justice is dispensed to them later when they are hacked to bits, baked into a pie, and served to their mother for dessert!) Laviniaâs uncle Marcus is devastated by the sight of his bloody niece. He remembers the lovely sound of her now-silenced voice:
O, that delightful engine of her thoughts,
That blabbed them with such pleasing eloquence,
Is torn from forth that pretty hollow cage
Where, like a sweet melodious bird, it sung
Sweet, varied notes, enchanting every ear.
(3.1.82â86)
These lines draw upon the idea at the heart of Thinking Shakespeare: we think, and then we speak. Or, as Marcus puts it, the tongue is the engine that blabs our thoughts with pleasing eloquence. His lovely notion, that words are sweet, varied notes that enchant the ear, is the subject of this chapter.
Shakespearean Language Has a Musical Dimension
Variety is at the core of Shakespeareâs technique. We have seen that his writing never stays in the same place for long. Knotty, intricate vocabulary is quickly followed by something direct and unaffected. If a passage is stern and serious, a deflating joke or flash of humor is surely right around the corner. If itâs polysyllabic and fast, slow monosyllables arenât far behind, and if itâs slow, you can bet it will pick up speed again soon.
This ever-changing, kaleidoscopic effect gives Shakespeareâs writing a certain musicââvaried notes,â as Marcus puts itâof an âinfinite variety,â as Enobarbus says of Cleopatra. Shakespeare creates rhythms, tempi, and sounds that are his and his alone. Call it the Swan of Avon Swing, the Backbeat of the Bard, the Stratfordian Stomp. Actors need to learn how to jam on it, to bust a move or two when they hear it. The music of Shakespeareâthe rhythm, tempo, and pace of his languageâadds dimension and nuance to the audienceâs experience of his plays. The musical aspect of the writing is not to be overlooked. It is our next area of focus.
REHEARSAL TIME
This speech from Richard II amply demonstrates the important contributions of rhythm and tempo to the Shakespearean music.
The given circumstances: King Richard II has plunged Englandâs economy into ruin through excessive spending and too much debt. John of Gaunt, uncle to King Richard, is on his deathbed. In the Elizabethan age, folk wisdom had it that dying men are given the gift of clairvoyance. Gaunt welcomes this gift and makes a prophecy about what will happen to his beloved England if his nephew continues his disastrous economic policies.
(Note that for the remaining three acts of Thinking Shakespeare, unfamiliar words and ideas in our rehearsal speeches will be glossed with marginal notes signaled by the symbol ° and footnotes, rather than with the more discursive explanations found in Acts I and II. This will allow the emphasis to be placed more squarely on the main point of each chapter, rather than on line-by-line exegesis and supporting observations. You now have all the tools you need to scan the text, piece its argument together, find and use its antitheses, exploit all the changes in the languageâs height, and phrase it a line at a time. You are ready to look at it from some new perspectives.)
JOHN OF GAUNT | Methinks I am a prophet new-inspired, | |
And thus, expiring, do foretell of him. | ||
wastefulness | His rash, fierce blaze of riot° cannot last, | |
For violent fires soon burn out themselves. |