How did Renaissance theatre create its powerful effects with so few resources? In The Shakespearean Stage Space; Mariko Ichikawa explores the original staging of plays by Shakespeare and his contemporaries to build a new picture of the artistry of the Renaissance stage. Dealing with problematic scenes and stage directions; Ichikawa closely examines the playing conditions in early modern playhouses to reveal the ways in which the structure of the stage was used to ensure the audibility of offstage sounds; to control the visibility of characters; to convey fictional locales; to create specific moods and atmospheres and to maintain a frequently shifting balance between fictional and theatrical realities. She argues that basic theatrical terms were used in a much broader and more flexible way than we usually assume and demonstrates that; rather than imposing limitations; the bare stage of the Shakespearean theatre offered dramatists and actors a variety of imaginative possibilities.
#2794790 in eBooks 2012-11-30 2013-08-08File Name: B00A8GYUKC
Review
7 of 7 people found the following review helpful. it can be a sad and reflective sightBy durval olivieriThis book by painter Connolly really gives us learning phase and self-educated portrait drawers and painters a route to improvements.It is so obvious that the most important part of a portrait is the mode the eye shows up in the painting: that can be a dry look; empty; it can be a sad and reflective sight; it can express happiness; etc. What had not occurred to me is his teaching that one should start by drawing the right eye and from there the other eye and the nose and so on. I had to redo many a portrait I have done just retouching and retouching the eye; as and nose and lips and shades on the face; due to not having done in that order he points out to us; very properly.The other point is his preference for portraiture initial drawing the BURNED SIENA paint and then other steps. That was done by mostly all classic painters; but we somehow use other gimmicks. I will go back to that orientation; next time.The book on the rest it has all the other orientations all portraiture art books have; but he also points out the importance of portraiture in art.Doing a painted portrait is not like taking a photograph. It is an action of disciplined mutual belief ndash; a trust delegation ndash; between the painter and the sitter (or photographed); for the painter will dig out from the sitters soul all his public and secret good and bad.I bought the book in Kindle mode and I will try to get it in real edition for easier consultation.18 of 18 people found the following review helpful. On the place and practice of portrait paintingBy Donald BurrowAnthony Connolly is a highly decorated practicing portrait painter with a background in teaching and accademic British art. His "Painting Portraits" is obviously from a long experience of portrait painting. It is refreshingly honest; admitting that it is not easy; that "likeness resides in the particular; not the typical" and that there is a gradual accumulation of observation and corrections that makes the portrait drawing or painting. I purchased the book because of my primary interst in portrait work (at an amateur level). Because his painting technique is very different to my own I was at first defencive but on reading the book and discussing it more widely I have been delighted by the writing style; the open account of the progress of drawing and paintings presented and very helped by his discussion of the place of portrait painting in the 21st century. In this book you can expect new approaches to painting; a lucid and well written text that will reward the serious student. The text is very well illustrated and written. The equipment and technique are adequately covered. Mr Connolly then proceeds to discus paintng from a model; the self portrait; the use of preliminary sketches and photoreference. This is well presented with his own painting approach and wise reflection on the need for honesty in observation and in the painting. He sees the need for an artistic senstivity.The book is well produced and priced and is recommended to those with an interest in contempory portrait drawing and painting.10 of 11 people found the following review helpful. FrustratingBy Slumming AngelThe step by step demonstrations include scant information on the artists process; so little that the book; although a delight to look at; is useless as a technique book which is how its marketed. For example; the author does not describe his palette; or how he measures facial proportions. He doesnt say; in his self portrait demo; why he limits himself to head only; or paints himself in yellow tones. In the drawing chapter; he says he begins by studying the subjects right eye; always. Intriguing; but why? What is the advantage to doing that? You wont find out here. The painting demos are all the same; and simplistic.. Connolly is a dazzling painter. But this book suffers from lack of detailed insight. I bought a copy which I am returning to for this reason.