Acknowledgments |
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xi | |
Preface |
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xiii | |
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1 | (64) |
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1 Recognizing style: the eyes of the beholder |
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5 | (16) |
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5 | (2) |
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Style is what works in a group |
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7 | (5) |
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Sight and sound: first style impressions |
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12 | (3) |
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15 | (6) |
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2 Analyzing style: survival questions |
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21 | (14) |
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21 | (8) |
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29 | (3) |
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32 | (3) |
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3 Mastering style: the classical actor |
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35 | (30) |
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35 | (1) |
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36 | (3) |
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39 | (2) |
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Physical lives: dignity and simplicity |
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41 | (4) |
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Vocal lives: crispness and clarity |
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45 | (15) |
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60 | (2) |
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62 | (3) |
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65 | (190) |
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4 Greek period style: three generations of tragic vision |
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69 | (32) |
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69 | (1) |
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70 | (4) |
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74 | (15) |
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89 | (5) |
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94 | (1) |
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94 | (7) |
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5 Elizabethan period style: theatre of earth and stars |
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101 | (64) |
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101 | (13) |
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114 | (5) |
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Elizabethan language guide |
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119 | (6) |
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125 | (9) |
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The open scene: us and them |
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134 | (1) |
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135 | (1) |
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135 | (4) |
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139 | (22) |
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Comparing Greeks and Elizabethans |
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161 | (4) |
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6 Restoration period style: decadence as one of the fine arts |
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165 | (40) |
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165 | (15) |
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180 | (4) |
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Fans, corsets, trains, and other traps |
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184 | (2) |
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186 | (1) |
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Handkering: handkerchief as weapon |
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186 | (1) |
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Typing: playing into your image |
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187 | (1) |
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Descending: sitting and reclining |
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187 | (1) |
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Reverence: bowing and curtsying |
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187 | (1) |
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187 | (1) |
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188 | (1) |
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189 | (2) |
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191 | (1) |
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192 | (3) |
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195 | (1) |
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196 | (1) |
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197 | (1) |
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198 | (1) |
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198 | (7) |
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7 Relatives of restoration period style: morals, manner, and madness |
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205 | (50) |
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Crusty uncle, conservative grandchildren, and crazy cousins |
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205 | (1) |
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Moliere: moral lessons sweetened with laughter |
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206 | (11) |
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217 | (4) |
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221 | (1) |
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221 | (2) |
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Commedia dell'arte: anything goes |
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223 | (7) |
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Audience as the actor's partner |
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230 | (1) |
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231 | (2) |
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Georgian: theatre welcomes the middle class |
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233 | (16) |
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249 | (5) |
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Comparisons of manners styles |
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254 | (1) |
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255 | (116) |
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8 Fusion style: imagination and innovation |
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257 | (40) |
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257 | (5) |
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262 | (2) |
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Shakespeare and musicals, performance siblings |
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264 | (1) |
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Spirit of the stairs, l'esprit de l'escalier |
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265 | (1) |
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265 | (5) |
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270 | (2) |
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272 | (5) |
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Periods and plays less chosen |
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277 | (1) |
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Adaptations and editions: can this be the same story? can this be the same sentence? |
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278 | (1) |
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Translations: can this be the same script? |
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279 | (7) |
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286 | (11) |
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9 Global style: worldwide influence and invention |
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297 | (56) |
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297 | (3) |
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300 | (1) |
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301 | (1) |
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302 | (3) |
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305 | (2) |
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307 | (1) |
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Beijing opera or Chinese jingju |
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308 | (1) |
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309 | (1) |
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310 | (3) |
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313 | (1) |
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314 | (2) |
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Eastern vs. Western theatre: style checklist |
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316 | (3) |
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319 | (1) |
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319 | (1) |
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320 | (5) |
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325 | (2) |
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327 | (2) |
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329 | (2) |
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331 | (2) |
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333 | (2) |
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335 | (1) |
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336 | (2) |
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338 | (2) |
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340 | (3) |
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343 | (3) |
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346 | (2) |
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348 | (3) |
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351 | (1) |
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ISMology: tacking qualifiers onto the ISMs |
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351 | (2) |
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10 Personal style: creating reality |
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353 | (18) |
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353 | (4) |
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357 | (2) |
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359 | (4) |
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Models: styling yourself on someone else |
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363 | (1) |
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364 | (4) |
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368 | (3) |
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371 | (42) |
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Appendix A Group exercises for chapter 1 |
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372 | (4) |
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Appendix B Group exercises for chapter 2 |
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376 | (5) |
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Appendix C Group exercises for chapter 3 |
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381 | (8) |
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Appendix D Group exercises for chapter 4 |
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389 | (3) |
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Appendix E Group exercises for chapter 5 |
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392 | (3) |
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Appendix F Group exercises for chapter 6 |
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395 | (2) |
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Appendix G Group exercises for chapter 7 |
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397 | (5) |
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Appendix H Group exercises for chapter 8 |
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402 | (3) |
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Appendix I Group exercises for chapter 9 |
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405 | (3) |
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Appendix J Group exercises for chapter 10 |
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408 | (5) |
Index |
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413 | |