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1 Burnside Drama- Shakespeare Criticism

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Shakespeare's Stagecraft

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Shakespeare's Stagecraft Cover

 

Synopses & Reviews

Publisher Comments:

For many years, critics and students of Shakespeare have tended to stress that his plays are poetic structures embodying 'themes', and these structures have been analysed in great detail. Professor Styan advocates another approach. The plays were written for acting, in a theatre of a particular type. If we ask what effects this kind of theatre encouraged and how Shakespeare exploited them, the plays are seen as a sequence of stage-effects, planned with great art so as to enrich, reinforce and modify each other. Professor Styan begins with the known facts about the Elizabethan theatre, stressing the effect of the size of the apron stage, and the degree in which the spectators situated all around are involved in the action. It was a theatre of movement and grouping, and above all speech. Shakespeare's verse is full of suggestions about how it is to be delivered; it is, in Professor Styan's word, 'gestic'. Professor Styan shows in very many examples, quoting the text and examining its dramatic implications, what the words suggest about movement over the stage, about the relationship between groups of players on the stage, and about the delivery and dramatic effect of the words themselves. Thus we build up a new sense of the whole play. This is a convenient and comprehensive introduction to the study of Shakespeare's dramatic craftsmanship, which also reopens that direction of enquiry which Granville-Barker first explored.

Synopsis:

Critics of Shakespeare have tended to stress that his plays are poetic structures embodying themes. Professor Styan sees the plays as a series of stage effects planned with great art so as to enrich, reinforce and modify each other. They were written for acting, in a theatre of a particular type.

Table of Contents

Introduction; Part I. Shakespeare's Theatre Equipment: 1. Shakespeare's stage; 2. Staging and acting conventions; Part II. Shakespeare's Visual Craft: 3. The actor and his movement; 4. Grouping on the open stage; 5. The full stage; Part III. Shakespeare's Aural Craft: 6. Speaking the speech; 7. The orchestration of speech; Part IV. Conclusions: 8. Total theatre; Selected bibliography; Index of subjects; Index of proper names; Index of scenes.

Product Details

ISBN:
9780521094351
Author:
Styan, J. L.
Author:
Styan
Author:
Styan, J. L.
Author:
Styan, John L.
Publisher:
Cambridge University Press
Location:
Cambridge
Subject:
General
Subject:
Shakespeare
Subject:
Shakespeare, william, 1564-1616
Subject:
Drama
Subject:
Criticism
Subject:
English, Irish, Scottish, Welsh
Subject:
Performing arts
Subject:
Theater - Stagecraft
Subject:
British & Irish
Subject:
Literary Criticism : General
Copyright:
Edition Description:
Trade paper
Publication Date:
19671131
Binding:
TRADE PAPER
Grade Level:
Professional and scholarly
Language:
English
Illustrations:
Y
Pages:
256
Dimensions:
8.56x5.53x.62 in. .73 lbs.

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Related Subjects

Arts and Entertainment » Drama » British and Irish Anthologies
Arts and Entertainment » Drama » History and Criticism
Arts and Entertainment » Drama » Production » General
Arts and Entertainment » Drama » Shakespeare » Criticism
Arts and Entertainment » Drama » Women and Ethnic
History and Social Science » Economics » General
History and Social Science » Linguistics » Specific Languages and Groups
History and Social Science » Politics » General
Humanities » Literary Criticism » General
Reference » Science Reference » Technology
Reference » Words Phrases and Language
Religion » Comparative Religion » General

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Product details 256 pages Cambridge University Press - English 9780521094351 Reviews:
"Synopsis" by , Critics of Shakespeare have tended to stress that his plays are poetic structures embodying themes. Professor Styan sees the plays as a series of stage effects planned with great art so as to enrich, reinforce and modify each other. They were written for acting, in a theatre of a particular type.
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