成人头条 成人头条 - Topic In Focus

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TOPIC IN FOCUS

Performing Shakespeare

"Performing Shakespeare is both a challenge and a privilege. His work connects the actor and audience through time, reminding us of our shared humanity."

--Kenneth Branagh

Many actors agree that performing Shakespeare is a vital part of their journey as they hone their craft. From inhabiting the physicality of a character to navigating the bard鈥檚 Early Modern English, actors face a unique challenge when they interpret Shakespeare鈥檚 classic plays for contemporary audiences. This month, 成人头条 成人头条 features content from our Drama and Performance Studies library that illuminates the complexities of performing the plays of Shakespeare in ranging contexts.

Explore 成人头条 Collection鈥檚 Drama and Performance Studies library, which provides applied and scholarly support for students and researchers with thousands of titles spanning the discipline.


Performing Shakespeare鈥檚 Women: Playing Dead

Shakespeare鈥檚 women rarely reach the end of the play alive. As a result, female actors in Shakespeare鈥檚 works often find themselves 鈥減laying dead.鈥 But what does this mean for women actors, whose bodies become scrutinized and anatomized by audiences and fellow actors? In her book Performing Shakespeare's Women: Playing Dead, Paige Martin Reynolds engages both performance history and current scholarship to consider practical problems facing the female actor playing Shakespearean characters in a post-feminist world.

Read this provided introduction in which the author presents an overview of her subject, drawing from her own experience as female stage actor.



Shakespeare: Actors and Audiences

We know much about theater in Shakespeare鈥檚 time but very little about the audiences who attended his plays. Shakespeare: Actors and Audiences places the role of the audience at the center of how we understand Shakespeare in performance, with leading actors, theater makers, and audience members providing insight into the world of theater production and the relationship between performer and spectator.

In this sample chapter, scholar Stephen Purcell draws from notable past performances to consider how the audience itself influences different interpretations of Shakespeare鈥檚 works.



Cracking Shakespeare: A Hands-on Guide for Actors and Directors

For some artists approaching Shakespeare, a significant challenge can be successfully conveying a character鈥檚 thoughts and emotions through the playwright鈥檚 Early Modern English prose. Kelly Hunter鈥檚 book Cracking Shakespeare: A Hands-on Guide for Actors and Directors demystifies the process of speaking Shakespeare鈥檚 language, offering hands-on techniques for drama students, young actors and directors who are intimidated by rehearsing, performing and directing Shakespeare鈥檚 plays.

Read this chapter in which Hunter discusses how to take ownership of Shakespeare鈥檚 language by incorporating an 鈥渆motional alphabet鈥: key letters and sounds that convey certain strong emotions.



Shakespeare and Stanislavsky: A Practical Guide for Actors, Directors, Students and Teachers

According to theater scholars, not all acting methods are compatible with performing Shakespeare; in particular, that of influential practitioner Konstantin Stanislavsky. Acting tutor and director Annie Tyson dispels this notion in her book Shakespeare and Stanislavsky: A Practical Guide for Actors, Directors, Students and Teachers. Tyson makes applying Stanislavsky鈥檚 method to Shakespeare simple and accessible, illustrating how Shakespearean text offers clues to specific acting choices connected to action and character.

In this provided chapter, Tyson considers Stanislavsky鈥檚 early days as a teacher, and his use of Shakespearean plays in training actors including Hamlet, Much Ado About Nothing, Othello, and Julius Caesar.



Early Modern Actors and Shakespeare鈥檚 Theatre: Thinking with the Body

What skills did Shakespeare鈥檚 early actors bring to their craft, and how do these skills differ from those of contemporary actors? In Early Modern Actors and Shakespeare鈥檚 Theatre: Thinking with the Body, professor Evelyn Tribble examines the 鈥榯oolkit鈥 of the early modern player and suggests new readings of the plays of Shakespeare and his contemporaries through the lens of their many skills.

In this provided chapter, Tribble explores mindful action and gesture in Shakespearean performance, from drawing a sword to embracing a lover.



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