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Steve Waters

The Secret Life of Plays

A guide to the hidden workings of plays and the trade secrets that govern their writing — by the acclaimed playwright Steve Waters.
Drawing on a wide range of drama, both historical and modern, Waters takes the reader through the key elements of dramatic writing — scenes, acts, space, time, characters, language and images — to show how a play is more than the sum of its parts, with as much inner vitality as a living organism.
Almost uniquely amongst accounts of playwriting, Waters' book looks at the ways in which good plays move their audiences, generating powerful emotional responses that often defy conventional analysis.
The Secret Life of Plays is for playwrights at any stage of their career, and will inspire and inform drama students as well as working actors and directors. Most of all it is for anyone who has ever laughed or cried in the theatre — and wants to know why.
'Thrilling… crammed with good, old-fashioned close reading of a diverse range of plays, which means that although Waters does primarily address those who write for the theatre, he does not forget those who like watching and reading it' TLS 'Essential for aspiring playwrights' Whatsonstage.com
255 trykte sider
Copyrightindehaver
Bookwire
Oprindeligt udgivet
2013
Udgivelsesår
2013
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Citater

  • Marcin Grotahar citeretsidste år
    Then why do critical events in an act tend to occur about five minutes before its close? Because we need time to register the climax, feel ourselves to be within the spell of the narrative still and then to be taken out of it.
  • Marcin Grotahar citeretsidste år
    Because a scene is not a play it does not achieve completion; even if the transformation promised is locally achieved, it cannot generate a complete equilibrium – change here generates new circumstances which necessitate further changes to come: Horatio’s new-found conviction impels him to acquaint Hamlet with the Ghost; Edmond’s departure generates questions about how he will fare with his new-found appetite for living; Aaronow’s apparent acceptance of his implication in the crime commits him to participate in it; Carol’s broken-off confession implies a new phase in her assault on John.
  • Marcin Grotahar citeretsidste år
    For a scene to remain a scene rather than a short play, it must yield something partial and unresolved, opening a door onto what follows as much as closing it on what’s transpired.

På boghylderne

  • katherinesortini
    Theatre
    • 7
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