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E-raamat: Application of the Michael Chekhov Technique to Shakespeare's Sonnets, Soliloquies and Monologues

  • Formaat: PDF+DRM
  • Ilmumisaeg: 26-Nov-2019
  • Kirjastus: Routledge
  • Keel: eng
  • ISBN-13: 9781000732580
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Application of the Michael Chekhov Technique to Shakespeare's Sonnets, Soliloquies and MonologuesSuurem pilt
  • Formaat: PDF+DRM
  • Ilmumisaeg: 26-Nov-2019
  • Kirjastus: Routledge
  • Keel: eng
  • ISBN-13: 9781000732580
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Application of the Michael Chekhov Technique to Shakespeare’s Sonnets, Soliloquies, and Monologues illustrates how to apply the Michael Chekhov Technique, through exercises and rehearsal techniques, to a wide range of Shakespeare’s works.

The book begins with a comprehensive chapter on the definitions of the various aspects of the Technique, followed by five chapters covering Shakespeare’s sonnets, comedies, tragedies, histories, and romances. This volume offers a very specific path, via Michael Chekhov, on how to put theory into practice and bring one’s own artistic life into the work of Shakespeare.

Offering a wide range of pieces that can be used as audition material, Application of the Michael Chekhov Technique to Shakespeare’s Sonnets, Soliloquies, and Monologues is an excellent resource for acting teachers, directors, and actors specializing in the work of William Shakespeare.

The book also includes access to a video on Psychological Gesture to facilitate the application of this acting tool to Shakespeare’s scenes.

Preface and How to Use This Book xiv
Chapter One Tools of the Michael Chekhov Technique Used in This Book
1(6)
Chapter Two The Sonnets
7(25)
Sonnet Fourteen `Not from the stars do I my judgment pluck;'
11(2)
Sonnet Seventeen `Who will believe my verse in time to come,'
13(2)
Sonnet Twenty-Three `As an unperfect actor on the stage'
15(1)
Sonnet Twenty-Seven `Weary with toil I haste me to my bed,'
16(1)
Sonnet Thirty-Four "Why didst thou promise such a beauteous day,'
17(1)
Sonnet Forty-Two `That thou hast her, it is not all my grief
18(2)
Sonnet Forty-Six `My heart doth plead that thou in him dost lie---'
20(2)
Sonnet Fifty-Six `Sweet love, renew thy force; be it not said'
22(1)
Sonnet Sixty `Like as the waves make towards the pebbled shore,'
23(2)
Sonnet Eighty O, how Ifaint when I of you do write,'
25(1)
Sonnet One Hundred-Sixteen `Let me not to the marriage of true minds'
26(2)
Sonnet One Hundred-Thirty `My mistress' eyes are nothing like the sun;'
28(1)
Sonnet One Hundred-Forty-Four `Two loves I have of comfort and despair,'
29(3)
Chapter Three The Comedies -- Women
32(47)
As You Like It
33(1)
Act HI, sc. iv
33(1)
Phoebe
33(4)
As You Like It
37(9)
Act III, sc. v
37(1)
Rosalind
37(3)
The Comedy of Errors
40(3)
Act III, sc. ii
40(1)
Luciana
40(3)
The Merchant of Venice
43(2)
Act III, sc. iv
43(1)
Portia
43(2)
The Merchant of Venice
45(1)
Act IV, sc. i
45(1)
Portia
45(2)
A Midsummer Night's Dream
47(42)
Act I, sc. i
47(1)
Helena
47(2)
A Midsummer Night's Dream
49(2)
Act I, sc. i
49(1)
Helena
49(2)
A Midsummer Night's Dream
51(2)
Act II, sc. i
51(1)
Titania
51(2)
Twelfth Night
53(2)
Act II, sc. ii
53(1)
Viola
53(2)
Twelfth Night
55(2)
Act III, sc. i
55(1)
Olivia
55(2)
The Two Gentlemen of Verona
57(1)
Act I, sc. ii
57(1)
Julia
57(1)
The Two Gentlemen of Verona
58(3)
Act IV, sc. iv
58(1)
Julia
58(3)
As You Like It
61(2)
Act II, sc. i
61(1)
Duke Senior
61(2)
As You Like It
63(1)
Act II, sc. i
63(1)
First Lord
63(1)
Love's Labour's Lost
64(2)
Act IV, sc. ii
64(1)
Berowne
64(2)
The Merchant of Venice
66(1)
Act I, sc. iii
66(1)
Shylock
66(1)
The Merchant of Venice
67(2)
Act II, sc. ii
67(1)
Launcelot Gobbo
67(2)
A Midsummer Night's Dream
69(1)
Act I, sc. i
69(1)
Lysander
69(1)
A Midsummer Night's Dream
70(1)
Act IV, sc. i
70(1)
Bottom
70(1)
Much Ado About Nothing
71(2)
Act II, sc. iii
71(1)
Benedick
71(2)
Twelfth Night
73(2)
Act I, sc. i
73(1)
Orsino
73(2)
The Two Gentlemen of Verona
75(4)
Act II, sc. iii
75(1)
Launce
75(4)
Chapter Four The Tragedies -- Women
79(40)
Antony and Cleopatra
79(1)
Act I, sc. v
79(1)
Cleopatra
79(1)
Antony and Cleopatra
80(2)
Act IV, sc. xv
80(1)
Cleopatra
80(2)
Hamlet
82(1)
Act II, sc. i
82(1)
Ophelia
82(1)
Hamlet
83(2)
Act III, sc. i
83(1)
Ophelia
83(2)
Hamlet
85(1)
Act IV, sc. vii
85(1)
Gertrude
85(1)
Julius Caesar
86(1)
Act II, sc. i
86(1)
Portia
86(1)
Julius Caesar
87(1)
Act II, sc. ii
87(1)
Calphurnia
87(1)
King Lear
88(2)
Act I, sc. iv
88(1)
Goneril
88(2)
Macbeth
90(1)
Act I, sc. v
90(1)
Lady Macbeth
90(1)
Macbeth
91(2)
Act I, sc. vii
91(1)
Lady Macbeth
91(2)
Othello
93(1)
Act IV, sc. iii
93(1)
Emelia
93(1)
Romeo and Juliet
94(2)
Act III, sc. ii
94(1)
Juliet
94(2)
Antony and Cleopatra
96(2)
Act II, sc. ii
96(1)
Enobarbus
96(2)
Coriolanus
98(2)
Act IV, sc. v
98(1)
Coriolanus
98(2)
Hamlet
100(2)
Act I, sc. iii
100(1)
Polonius
100(2)
Julius Caesar
102(2)
Act I, sc. ii
102(1)
Cassius
102(2)
Julius Caesar
104(1)
Act II, sc. i
104(1)
Brutus
104(1)
Julius Caesar
105(2)
Act III, sc. i
105(1)
Antony
105(2)
King Lear
107(2)
Act I, sc. ii
107(1)
Edmund
107(2)
Macbeth
109(1)
Act I, sc. vii
109(1)
Macbeth
109(1)
Othello
110(1)
Act I, sc. i
110(1)
Iago
110(1)
Romeo and Juliet
111(2)
Act II, sc. ii
111(1)
Romeo
111(2)
Titus Andronicus
113(2)
Act III, sc. ii
113(1)
Titus
113(2)
Titus Andronicus
115(4)
Act IV, sc. ii
115(1)
Aaron
115(4)
Chapter Five The Histories -- Women
119(37)
Richard II
119(2)
Act I, sc. ii
119(1)
Duchess of Gloucester
119(2)
Henry TV, Part Two
121(1)
Act II, sc. iii
121(1)
Lady Percy
121(1)
Henry V
122(2)
Prologue
122(1)
Chorus
122(2)
Henry VI, Pt. 1
124(1)
Act I, sc. ii
124(1)
Joan de Pucelle
124(1)
Henry VI, Pt. II
125(1)
Act I, sc. iii
125(1)
Queen Margaret
125(1)
Henry Six, Pt. II
126(2)
Act II, sc. iv
126(1)
Eleanor
126(2)
Henry VI, Pt. Ill
128(2)
Act I, sc. iv
128(1)
Margaret
128(2)
Richard III
130(1)
Act I, sc. ii
130(1)
Lady Anne
130(1)
Richard II
131(2)
Act II, sc. i
131(1)
John of Gaunt
131(2)
Richard II
133(2)
Act III, sc. ii
133(1)
King Richard
133(2)
Richard II
135(2)
Act III, sc. iii
135(1)
King Richard
135(2)
Richard II
137(2)
Act IV, sc. i
137(1)
Bishop of Carlisle
137(2)
Henry IV, Pt. 1
139(2)
Act I, sc. iii
139(1)
Hotspur
139(2)
Henry IV, Pt. II
141(1)
Act III, sc. i
141(1)
King Henry IV
141(1)
Henry IV, Pt. II
142(2)
Act IV, sc. v
142(1)
Prince Hal
142(2)
Henry V
144(2)
Act I, sc. ii
144(1)
King Henry V
144(2)
Henry V
146(2)
Act IV, sc. iii
146(1)
King Henry V
146(2)
Richard III
148(2)
Act I, sc. i
148(1)
Richard
148(2)
Richard III
150(2)
Act I, sc. ii
150(1)
Richard
150(2)
Richard III
152(4)
Act II, sc. i
152(1)
King Edward IV
152(4)
Chapter Six The Romances and Problem Plays -- Women: Romances
156(18)
Cymbeline
156(1)
Act III, sc. vi
156(1)
Imogen
156(1)
The Winter's Tale
157(2)
Act III, sc. ii
157(1)
Hermione
157(2)
The Winter's Tale
159(1)
Act III, sc. ii
159(1)
Paulina
159(1)
Cymbeline
160(3)
Act II, sc. ii
160(1)
Iachimo
160(3)
The Tempest
163(1)
Act II, sc. ii
163(1)
Trinculo
163(1)
The Tempest
164(1)
Act III, sc. ii
164(1)
Caliban
164(1)
The Tempest
165(2)
Act IV, sc. i
165(1)
Prospero
165(2)
All's Well That Ends Well
167(2)
Act III, sc. ii
167(1)
Helena
167(2)
Measure for Measure
169(1)
Act II, sc. ii
169(1)
Isabella
169(1)
Troilus and Cressida
170(2)
Act III, sc. ii
170(1)
Cressida
170(2)
Measure for Measure
172(2)
Act III, sc. i
172(1)
Claudio
172(2)
Appendix I Exercises: Contributed by Colleagues and Teachers of the Great Lakes Michael Chekhov Consortium 174(18)
Appendix II Practice Monologues for Identifying the Score 192(7)
Appendix III Compilation of Notes Pertinent to All Speeches 199(3)
Index 202
Mark Monday is a Founding Director of the Great Lakes Michael Chekhov Consortium and serves as its President and Producing Artistic Director. He is also a professional actor, director, and teacher.
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