- Series: A Theatre Arts Book
- Paperback: 308 pages
- Publisher: Routledge; 1 edition (November 18, 2001)
- Language: English
- ISBN-10: 0878300953
- ISBN-13: 978-0878300952
- Product Dimensions: 8.3 x 0.7 x 11.7 inches
- Shipping Weight: 2 pounds
- Average Customer Review: 9 customer reviews
- Amazon Best Sellers Rank: #564,578 in Books (See Top 100 in Books)
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Secrets of Acting Shakespeare: The Original Approach (A Theatre Arts Book) 1st Edition
Use the Amazon App to scan ISBNs and compare prices.
Customers who bought this item also bought
What other items do customers buy after viewing this item?
"Any theater person or academic interested in understanding Shakespeare should read Tucker's remarkable book...this volume is highly recommended at all levels.."
-R. Sugarman Ihoice
"The book is a quite original and didactic look at Shakespeare, especially intriguing to the serious Shakespearean who is looking for new ideas."
-Michael Lazan "Back Stage, September 2002
"Tucker's "Secrets of Acting Shakespeare is an important new book that offers much to a wide audience; a wealth of practical advice for students and makers of theatre and a great deal worth reconsidering for schlars of Shakespearean text and performance. "Theatre Journal October 2003."
About the Author
Patrick Tucker is Director of London's Original Shakespeare Company. He is on the board of the Globe Theatre, London.
Top customer reviews
I have just started this book, but already I want to read Shakespeare's plays again to see what I missed - and I missed plenty. You also begin to understand why Shakespeare was a great play-writer, why his works have stood the test of time while the other writers of his age have withered away.
Some of the interesting observerations: Thee vs. You has real significance (the former is intimitate while the latter is formal), why he writes in prose sometimes, the significance of the iambic pentameter (di-dum, etc.).
The author also dispels a myth that English spoken in Shakespeare's time was hard compared to today. Rather Shakespeare's words were always harder than the common speak of the day, yet his plays were able to be well understood because of the "clues" presented in the writing, which made the actors act the part correctly, thus making the language easier to understand. Don't worry if you did not fully this last paragraph. The book will explain all.
And, soon you'll be able to turn the pages of a Shakespeare play faster than that of a John Grisham novel.
The actors learnt their parts from cue scripts, long scrolls showing the last few words of the previous speech and then their own. They had to be extra attentive or they might miss their entry. The Book-holder, or prompt, was the only person to have the entire text (a valuable document you didn't want anybody else to steal, no copyright in those days) was prominently on stage to see that things went right and, if a prompt was needed, it was given openly. The audience accepted this as part of the performance though anybody needing too many prompts would doubtless get some barracking.
The author, who clearly has a science background and knows how to present a logical case, shows that all the information needed is in the First Folio which is an actors' tool, not a dead piece of Eng Lit. 'you', 'thou' and 'thee' are not interchangeable but actually tell the actor where to stand in relation to others on the stage. Modern editions of Shakespeare have tidied the text up to be read by students; the First Folio had lines, half lines, capital letters in odd places, strange commas; but all actually telling the actor what to do.
The author has been working as a director for the last forty years or so and has refined his theories on the job. He has run The Original Shakespeare Company with many successful productions using his methods. He is wildly popular with his actors and the few productions he was allowed to do at The Globe, London, were sold out and enthusiastically received.
The academic world and theatre establishment are not so happy to see their entrenched theories challenged; and it must be extra annoying that he writes so well and is such a pleasure to read.