Staging Shakespeare's Violence: My Cue to Fight
There's Villainy Abroad
2027
Pen & Sword History (Verlag)
978-1-5267-6244-3 (ISBN)
Pen & Sword History (Verlag)
978-1-5267-6244-3 (ISBN)
- Noch nicht erschienen (ca. Januar 2027)
- Versandkostenfrei
- Auch auf Rechnung
- Artikel merken
My Cue to Fight is the first book of its kind to provide an in-depth examination of how the greatest playwright in the English language employed not only psychological brutality but also physical violence throughout his works. Written ideally for theatrical stage directors, fight directors, intimacy consultants, and actors as a technical scene-by-scene breakdown in staging combat during production of these plays, this publication also is for Shakespeare enthusiasts who want to learn more about the blood, sweat, and viscera hidden just underneath the poetry.
A writer utilizes violence, like song or dance, in moments where the story requires more than just words. But addressing how the violence will be staged tends either to be neglected or utterly gratuitous, both of which serve to separate the audience from the story and kill the whole venture.
The answer rests in approaching violence the same way we do scenework. The addition of violence, or ballet, or a musical number appears to be an altogether-separate beast from the basic text for an increasing number of actors and directors. Particularly those who think poetry and violence are mutually-exclusive concepts. The plays of William Shakespeare seek to engage audiences with all of the characters’ blood, tears, sweat, and guts. These works are not flowery poems meant to be mumbled in a classroom, or histrionically declaimed in frilly costumes. There is nothing light and fluffy about rape and murder’s rages, or carving someone as a dish fit for the gods, or fighting till from one’s bones one’s flesh be hacked.
Making matters more complicated is the ambiguity and sometimes even complete lack of stage directions. Modern texts typically possess clear directions whenever violence is to occur in the action but playscripts were quite different four centuries ago. Such denotations were both rare and inconsistent in Elizabethan and Jacobean printings.
Deciding which of the potential events to pursue in production comes down to which actors are involved, how they specifically match up with one another, and what types of violence exist within the vocabulary of the play and the world of any given production, specifically yours. The potential violence we will examine is not appropriate for all productions or scene partners. We’re here to question and inspire rather than provide catch-all solutions. Actors, directors, fight directors, and intimacy consultants must work together to find the most effective way for their production to communicate the playwright’s story to an audience.
A writer utilizes violence, like song or dance, in moments where the story requires more than just words. But addressing how the violence will be staged tends either to be neglected or utterly gratuitous, both of which serve to separate the audience from the story and kill the whole venture.
The answer rests in approaching violence the same way we do scenework. The addition of violence, or ballet, or a musical number appears to be an altogether-separate beast from the basic text for an increasing number of actors and directors. Particularly those who think poetry and violence are mutually-exclusive concepts. The plays of William Shakespeare seek to engage audiences with all of the characters’ blood, tears, sweat, and guts. These works are not flowery poems meant to be mumbled in a classroom, or histrionically declaimed in frilly costumes. There is nothing light and fluffy about rape and murder’s rages, or carving someone as a dish fit for the gods, or fighting till from one’s bones one’s flesh be hacked.
Making matters more complicated is the ambiguity and sometimes even complete lack of stage directions. Modern texts typically possess clear directions whenever violence is to occur in the action but playscripts were quite different four centuries ago. Such denotations were both rare and inconsistent in Elizabethan and Jacobean printings.
Deciding which of the potential events to pursue in production comes down to which actors are involved, how they specifically match up with one another, and what types of violence exist within the vocabulary of the play and the world of any given production, specifically yours. The potential violence we will examine is not appropriate for all productions or scene partners. We’re here to question and inspire rather than provide catch-all solutions. Actors, directors, fight directors, and intimacy consultants must work together to find the most effective way for their production to communicate the playwright’s story to an audience.
| Erscheint lt. Verlag | 30.1.2027 |
|---|---|
| Zusatzinfo | 50 colour illustrations |
| Verlagsort | Barnsley |
| Sprache | englisch |
| Maße | 172 x 246 mm |
| Themenwelt | Literatur ► Lyrik / Dramatik ► Dramatik / Theater |
| Kunst / Musik / Theater ► Theater / Ballett | |
| Geisteswissenschaften ► Sprach- / Literaturwissenschaft ► Anglistik / Amerikanistik | |
| Geisteswissenschaften ► Sprach- / Literaturwissenschaft ► Literaturgeschichte | |
| Geisteswissenschaften ► Sprach- / Literaturwissenschaft ► Literaturwissenschaft | |
| ISBN-10 | 1-5267-6244-7 / 1526762447 |
| ISBN-13 | 978-1-5267-6244-3 / 9781526762443 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
| Haben Sie eine Frage zum Produkt? |
Mehr entdecken
aus dem Bereich
aus dem Bereich
