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El. knyga: How to Direct Shakespeare

4.40/5 (19 ratings by Goodreads)
  • Formatas: 248 pages
  • Išleidimo metai: 11-Aug-2022
  • Leidėjas: The Arden Shakespeare
  • ISBN-13: 9781350231252
  • Formatas: 248 pages
  • Išleidimo metai: 11-Aug-2022
  • Leidėjas: The Arden Shakespeare
  • ISBN-13: 9781350231252

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You may be a student, or just starting out in the theatre profession, or an actor contemplating a switch to directing, or anyone dreaming of a life in the theatre. Know this: by developing and sharpening your skills on a Shakespeare text, you will be preparing yourself for your next production whatever or wherever that might be.

Practical, inspirational and steeped in the wisdom and expertise of one of the great Shakespearean directors of our age, How to Direct Shakespeare guides you through each step of a production, from conception to final presentation to an audience. It includes close analysis of the text and provides strategies for focusing on the main action and structure; it considers dramatic energy and the world of the play, and illuminates these with examples drawn from a variety of Shakespeare's plays. It will assist you with creating your vision for the production as you collaborate with the design team, cast the play and work with actors in rehearsal. And it walks you through the encounter with the audience as you open your production.

Drawing on examples from his work as artistic director of The Royal Shakespeare Company and subsequent directing work that has taken him all over the world, Noble shows how every production is shaped by a vision of the world - the interplay of the writer's vision and the director's interpretation of it. How to Direct Shakespeare will inspire and equip you as you develop your vision for your next production.

Recenzijos

How to Direct Shakespeare is a 'must have' book for ALL directors- experienced and aspiring! Adrian Noble shares his vast experience and leads the reader through the whole journey of directing Shakespeares plays from the preparation through all stages of rehearsal leading up to the opening night. It's a wonderful companion to his How to Do Shakespeare for actors. However his guidance can be used for directing any plays as it gives a wonderful insight into a director's process. Invaluable. * Sir David Suchet CBE FRSA * To be in rehearsal of a Shakespeare play with Adrian Noble is a gift to any actor. He is, quite simply, a brilliant director, and now in How to Direct Shakespeare, he guides us through every step of his directorial process with perfect precision and infinite generosity. Hugely informative and insightful, this book is an invaluable asset to any actor or director. * Sinéad Cusack * Adrian Noble and I were contemporaries at the Drama Centre in the early seventies. In 1978, he asked me to play Titus Andronicus at the Bristol Old Vic; it was my first Shakespeare - and his. For me it was like climbing a particularly craggy mountain, but from the first day it was clear that Adrian had a direct line through to the play, its world and, especially, its author, and if I managed it at all, it was largely due to him. In this indispensable book, he shares that extraordinary understanding and connection with anyone who wants to direct Shakespeare, with crystal clarity and a fund of insights both practical and penetrating. Above all, he makes it clear that to stage Shakespeare, directors have to bring their entire being to the work; nothing less will do. * simon callow *

Daugiau informacijos

Acclaimed director Adrian Noble provides young theatre directors with the tools and practice to successfully execute a production of a Shakespeare play.
List of Figures
xi
Acknowledgements and Thanks xii
Introduction 1(8)
1 You
9(4)
2 Him
13(4)
3 The Director and the Text
17(28)
Part One The World (Who's Who)
17(7)
Part Two Reading the Play
24(2)
Part Three Analysing the Play
26(5)
Part Four Entering Shakespeare's World
31(14)
4 Awayday 1: Dramatic Energy (How Does He Do It?)
45(24)
Apposition
46(4)
Metaphor
50(3)
Metre and Pulse
53(3)
Line Endings
56(3)
Word Play: Rhyme, Alliteration and Assonance
59(2)
Vocabulary
61(3)
Shape and Structure
64(5)
5 Let's Design It! The Eye
69(34)
Your Designer
69(2)
To Start
71(3)
Wall of ideas
71(1)
Read out loud
72(1)
Analyse and discuss
72(1)
Brainstorm
73(1)
The Model
74(1)
A Methodology
75(9)
Space
75(2)
The mechanics: Floors
77(1)
The mechanics: Entrances and exits
78(2)
The mechanics: Axes
80(2)
The mechanics: Walls
82(1)
The Skeleton
83(1)
The Journey of the Play: Two Casebooks
84(2)
Playtime
86(4)
`In the Round'
90(2)
Thrust Stages
92(2)
Technology of Design: How to Get from A to B
94(1)
Colour, Texture and Decoration
95(2)
Storyboard
97(1)
Show and Tell
97(1)
FAQ: Design
98(2)
What if they don't like what we've done?
98(1)
What if my designer and I get stuck?
99(1)
What if someone asks `What is your concept?'
99(1)
When should I involve the lighting designer in the process?
99(1)
Working with Costume Designers
100(1)
Costume and the Actor
101(1)
The Director and the Lighting Designer
101(2)
6 Design - The Ear
103(6)
Music
103(4)
Sound
107(2)
7 Casting the Play
109(8)
The Actor's World
109(2)
Do I Cast the Actor or the Part?
111(2)
The Audition Process
113(2)
Putting It Together
115(2)
8 Awayday 2: Stanislavski and Actioning
117(10)
9 To Cut or Not to Cut, That Is the Question
127(12)
Length
129(1)
Shape
130(6)
Choice of Edition
136(3)
10 The Rehearsal Plan
139(8)
The Traditional Way of Organizing Rehearsals
140(1)
Basic Aims of Rehearsal
141(1)
Making a Plan
142(5)
Beginning
142(2)
Middle
144(2)
Nearly-at-the-end
146(1)
11 Rehearsing the Play: Beginning
147(8)
The Rehearsal Room
147(2)
Stage Management
149(2)
An Approach to Day One of Rehearsals
151(4)
12 Awayday 3: Improvisation
155(16)
Building a Company
156(2)
Building a Character
158(3)
Developing Relationships and Exploring the World of the Play
161(6)
Exploring Scenes and Situations in the Play without Using the Text
167(4)
13 Rehearsing the Play: End of the Beginning
171(4)
Work on Language
171(1)
Work on Character
172(3)
14 Rehearsing the Play: Middle
175(22)
Aims for Middle Section of Rehearsals
176(1)
Examples from Romeo and Juliet
176(3)
`The Tank'
179(4)
Blocking
183(5)
Blocking Large-scale Scenes
188(2)
Second Pass at Scenes
190(3)
What to Do if Your Actors Get Inhibited or Stuck
193(4)
15 Rehearsing the Play: End
197(10)
First Run Through: How Does it Work?
198(2)
How to Give Your Notes
200(2)
Second and Third Run Throughs
202(3)
Preparing for the Theatre
205(2)
16 Tech, Dress, Previews and Opening
207(15)
The `Tech'
207(1)
How to Set Up a Tech
208(4)
The `Dress'
212(3)
Curtain Calls
215(1)
Previews
216(3)
Opening
219
Index 222
Adrian Noble is a freelance director of theatre, opera and film, whose work can be seen in the UK, USA, Canada, China, Hong Kong and across Europe. He was the Artistic Director of The Royal Shakespeare Company, 1991-2003, and of the Shakespeare Festival, San Diego, USA, 2010-2013. In 2014 Nobel was Mellon Visiting Artist and Thinker at Columbia University, USA. He is the recipient of multiple awards and honours in the UK, USA and Europe.