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卮蹖賵賴 賮賳蹖 賳賲丕蹖卮賳丕賲賴 禺賵丕賳蹖 丕夭 倬丕蹖丕賳 鬲丕 丌睾丕夭 賵 丕夭 丌睾丕夭 鬲丕 倬丕蹖丕賳
This guide to playreading for students and practitioners of both theater and literature complements, rather then contradicts or repeats, traditional methods of literary analysis of scripts.
Ball developed his method during his work as Literary Director at the Guthrie Theater, building his guide on the crafts playwrights of every period and style use to make their plays stageworthy. The text is full of tools for students and practitioners to use as they investigate plot, character, theme, exposition, imagery, motivation/obstacle/conflict, theatricality, and the other crucial parts of the superstructure of a play. He includes guides for discovering what the playwright considers the play鈥檚 most important elements, thus permitting interpretation based on the foundation of the play rather than its details.
Using Hamlet as illustration, Ball assures a familiar base for illustrating script-reading techniques as well as examples of the kinds of misinterpretation readers can fall prey to by ignoring the craft of the playwright. Of immense utility to those who want to put plays on the stage (actors, directors, designers, production specialists) Backwards and Forwards is also a fine playwriting manual because the structures it describes are the primary tools of the playwright.
Ball developed his method during his work as Literary Director at the Guthrie Theater, building his guide on the crafts playwrights of every period and style use to make their plays stageworthy. The text is full of tools for students and practitioners to use as they investigate plot, character, theme, exposition, imagery, motivation/obstacle/conflict, theatricality, and the other crucial parts of the superstructure of a play. He includes guides for discovering what the playwright considers the play鈥檚 most important elements, thus permitting interpretation based on the foundation of the play rather than its details.
Using Hamlet as illustration, Ball assures a familiar base for illustrating script-reading techniques as well as examples of the kinds of misinterpretation readers can fall prey to by ignoring the craft of the playwright. Of immense utility to those who want to put plays on the stage (actors, directors, designers, production specialists) Backwards and Forwards is also a fine playwriting manual because the structures it describes are the primary tools of the playwright.
190 pages, Paperback
First published January 1, 1983
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1,307 people want to read
About the author
David Ball
13听books108听followersDavid Ball has been to 60 countries on six continents. He has lived and worked in various parts of Africa. In the course of researching his novel Empires of Sand, he crossed the Sahara desert four times, and got lost there only once. Research trips for other novels have taken him to China, Istanbul, Algeria, and Malta - a little island where so far he hasn't gotten lost at all.
A former pilot, sarcophagus maker, and businessman, David has driven a taxi in New York City and built a road in West Africa. He installed telecommunications equipment in Cameroun and explored the Andes in a Volkswagen bus. He has renovated old Victorian houses in Denver and pumped gasoline in the Grand Tetons.
He has a master's degree in journalism from Columbia University and enjoys skiing, fishing, running (some have described it as more like hobbling), baseball, and opera.
His novels include Empires of Sand, China Run, and Ironfire. A short story, The Scroll, appears in the anthology Warriors, another, Provenance in the anthology Rogues.
David lives with his wife, Melinda, and their children, Ben and Li, in a house they built in the Rocky Mountains.
A former pilot, sarcophagus maker, and businessman, David has driven a taxi in New York City and built a road in West Africa. He installed telecommunications equipment in Cameroun and explored the Andes in a Volkswagen bus. He has renovated old Victorian houses in Denver and pumped gasoline in the Grand Tetons.
He has a master's degree in journalism from Columbia University and enjoys skiing, fishing, running (some have described it as more like hobbling), baseball, and opera.
His novels include Empires of Sand, China Run, and Ironfire. A short story, The Scroll, appears in the anthology Warriors, another, Provenance in the anthology Rogues.
David lives with his wife, Melinda, and their children, Ben and Li, in a house they built in the Rocky Mountains.
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October 20, 2024
丿乇 賵丕賯毓 丿賳亘丕賱 毓氐丕蹖 丿爻鬲蹖 亘賵丿賲 讴賴 賯亘賱 丕夭 賴賲禺賵丕賳蹖 賮丕賵爻鬲貙 亘丕毓孬 卮賴 讴賴 亘鬲賵賳賲 亘賴鬲乇 賳賲丕蹖卮賳丕賲賴 乇賵 丿乇讴 賵 鬲丨賱蹖賱 讴賳賲. 丕夭 丕賵賳噩丕蹖蹖 讴賴 毓賳丕賵蹖賳 賲丨丿賵丿蹖 賴賲 禺賵賳丿賲貙 毓賳賵丕賳 讴鬲丕亘 趩卮賲賲 乇賵 诏乇賮鬲 賵 亘丿賵賳 卮讴 亘丕 禺賵賳丿賳卮貙 丿蹖丿賲 乇賵 賵爻毓鬲 丿丕丿.
丕蹖賳 讴鬲丕亘 賲賳丕爻亘 趩賴 讴爻丕蹖蹖賴責
賵 趩賴 賳賲丕蹖卮賳丕賲賴鈥屬囏й屰� 乇賵 亘乇丕鬲賵賳 丿乇 丨蹖賳 禺賵丕賳卮 賱賵 賲蹖丿賴責
丕蹖賳 丕孬乇 乇賵蹖 趩賴 賲賯賵賱賴鈥屫й� 賲鬲賲乇讴夭賴責
賲亘丕丨孬蹖 讴賴 丕夭卮賵賳 賲蹖诏賴貙 趩蹖丕 賴爻鬲賳責
賯爻賲鬲 丕賵賱: 賮乇賲
_趩賴 丕鬲賮丕賯蹖 賲蹖鈥屫з佖� 讴賴 亘丕毓孬 賲蹖鈥屫促堌� 蹖讴 丕鬲賮丕賯 丿蹖诏乇 亘蹖賮鬲丿責
_賵 亘毓丿 趩賴 丕鬲賮丕賯蹖 賲蹖鈥屫з佖�
_丨丕賱 丕蹖賳 讴丕乇 乇丕 丕夭 丌禺乇 亘賴 丕賵賱 丕賳噩丕賲 丿賴蹖丿
_爻讴賵賳 賵 鬲噩丕賵夭
_賲丕賳毓貙 讴卮賲讴卮
_賳丿丕賳爻鬲賳 賳毓賲鬲 丕爻鬲
_丕賱賲丕賳鈥屬囏й� 鬲卅丕鬲乇蹖
賯爻賲鬲 丿賵賲: 乇賵卮鈥屬囏�
_丌卮讴丕乇爻丕夭蹖 蹖丕 鬲卮乇蹖丨
_倬蹖卮丕蹖賳丿: 毓胤卮 丿丕賳爻鬲賳 丌賳趩賴 亘毓丿丕 丕鬲賮丕賯 賲蹖鈥屫з佖�
_卮禺氐 (卮禺氐蹖鬲) 賳丕倬蹖丿丕
_鬲氐賵蹖乇 (丕蹖賲丕跇)
冲賲賵囟賵毓
賯爻賲鬲 爻賵賲: 賮賵鬲 賵 賮賳 丨乇賮賴鈥屰� 鬲卅丕鬲乇
_丕胤賱丕毓丕鬲 倬蹖卮鈥屫操呟屬嗁�
_丕毓鬲賲丕丿 亘賴 賳賲丕蹖卮賳丕賲賴鈥屸€屬嗁堐屫�
冲禺丕賳賵丕丿赖鈥属囏�
_毓賵丕賲賱 毓賲賵賲蹖: 噩賵貙 丨丕賱鬲
_毓丕賲賱 亘蹖鈥屬呚з嗁嗀� (亘蹖鈥屫池жㄙ傎�)
_鬲睾蹖蹖乇 丿賵乇丕賳
_賳賯胤賴鈥屰� 丕賵噩
冲丌睾丕夭赖丕/倬丕蹖丕賳鈥属囏�
冲丿賵亘丕乇赖鈥屫堌з嗃�
_丕賲丕 亘毓丿 趩蹖責
鬲噩乇亘賴鈥屸€屫з� 丕夭 禺賵丕賳卮
賲賵丕噩賴賴 亘丕 丕蹖賳 讴鬲丕亘 禺蹖賱蹖 卮蹖乇蹖賳 賵 賱匕鬲鈥屫ㄘ� 亘賵丿. 亘丿賵賳 倬蹖趩蹖丿诏蹖貙 丕夭 乇丕賴讴丕乇賴丕蹖蹖 亘乇丕蹖 賮賴賲 亘蹖卮鬲乇 亘賴 賴賲乇丕賴 賲孬丕賱鈥屬囏р€屰� 毓蹖賳蹖 氐丨亘鬲 賲蹖鈥屭┴必� 賵 丿乇 丨蹖賳 賮氐賵賱貙 鬲讴丕賱蹖賮蹖 賴賲 亘賴 禺賵丕賳賳丿賴 賲蹖丿丕丿 鬲丕 亘賴 毓賳賵丕賳 鬲賲乇蹖賳 丕賳噩丕賲 亘丿賴. 讴賱丕爻 丿乇爻 丿賱趩爻亘蹖 讴賴 亘乇丕蹖 毓賲蹖賯 卮丿賳 鬲賱丕卮 賲蹖鈥屭┴必� 賵 丌禺乇 賴乇 噩賱爻賴貙 禺賱丕氐賴鈥屬嗁堐屫驰� 賴賲 亘乇丕鬲 賮乇丕賴賲 賲蹖鈥屭┴必�.
賲賲讴賳賴 丿蹖丿诏丕賴 賳賵蹖爻賳丿賴 乇賵 蹖賴 噩賵乇 禺賵丿亘乇鬲乇亘蹖賳蹖 鬲賱賯蹖 讴賳蹖賳. 趩賵賳 丕夭 鬲丨賱蹖賱鈥屬囏й� 爻胤丨蹖 賲蹖诏賴 賵 賲蹖鈥屭┵堌ㄙ堎嗁� 賵 丕賲讴丕賳 丿丕乇賴 亘賴 毓丿賴鈥屫й� 亘乇亘禺賵乇賴. 丕賲丕 氐乇賮丕 讴丕乇卮 賵蹖乇丕賳 讴乇丿賳 丕賳鬲賯丕丿丕鬲 丿蹖诏乇丕賳 賳蹖爻鬲. 禺賵丿卮 丕爻鬲丿賱丕賱 賲蹖丕乇賴 賵 鬲賵囟蹖丨 賲蹖丿賴 讴賴 乇丕賴 睾賱胤 趩蹖賴 賵 丿乇爻鬲卮 趩胤賵乇 賲蹖鬲賵賳賴 亘丕卮賴.
蹖賴 讴鬲丕亘 讴賲讴蹖 禺賵亘 丿乇 丕蹖賳 丨蹖胤賴 亘賴 卮賲丕乇 賲蹖乇賴 賵 賲蹖鈥屫堎嗃屬� 亘毓丿 丕夭 禺賵賳丿賳卮貙 亘丕乇賴丕 亘賴卮 亘乇诏乇丿蹖賳 賵 亘賴乇賴 亘亘乇蹖賳.
倬.賳: 趩賵賳 禺賵丿 賳賵蹖爻賳丿賴 丕夭 讴鬲丕亘卮 鬲賵囟蹖丨 丿丕丿貙 鬲乇噩蹖丨 丿丕丿賲 讴賴 鬲讴賴鈥屬囏й屰� 丕夭卮 乇賵 丕蹖賳噩丕 亘匕丕乇賲 賵 丕囟丕賮賴鈥屭堐屰� 賳讴賳賲. 趩賵賳 禺賵丿賲賲 丕诏賴 丨乇賮蹖 賲蹖鈥屫藏呚� 鬲讴乇丕乇 賲讴乇乇丕鬲蹖 亘蹖卮 賳亘賵丿.
丕蹖賳 讴鬲丕亘 賲賳丕爻亘 趩賴 讴爻丕蹖蹖賴責
丕蹖賳 讴鬲丕亘 亘乇丕蹖 讴爻丕賳蹖 鬲賳馗蹖賲 卮丿賴 丕爻鬲 讴賴 賳賲丕蹖卮賳丕賲賴鈥屫й� 乇丕 亘乇丕蹖 丕噩乇丕 乇賵 亘賴 氐丨賳賴 丌賲丕丿賴 賲蹖鈥屭┵嗁嗀� 蹖毓賳蹖 亘丕夭蹖诏乇丕賳貙 讴丕乇诏乇丿丕賳丕賳貙 胤乇丕丨丕賳 賵 賳賲丕蹖卮賳丕賲賴鈥屬嗁堐屫池з�. 賴賲趩賳蹖賳 丕蹖賳 讴鬲丕亘 亘乇丕蹖 讴爻丕賳蹖 賳賵卮鬲賴 卮丿賴 丕爻鬲 讴賴 賳賲丕蹖卮賳丕賲賴 賲蹖鈥屫堌з嗁嗀� 賮賯胤 亘賴鈥屫勠屬� 丕蹖賳讴賴 賳賲丕蹖卮賳丕賲賴 禺賵丕賳丿賳 乇丕 丿賵爻鬲 丿丕乇賳丿.
賵 趩賴 賳賲丕蹖卮賳丕賲賴鈥屬囏й屰� 乇賵 亘乇丕鬲賵賳 丿乇 丨蹖賳 禺賵丕賳卮 賱賵 賲蹖丿賴責
丿乇 丕蹖賳 讴鬲丕亘 亘賴 賳賲丕蹖卮賳丕賲賴鈥屰� 賴賲賱鬲 丕孬乇 卮讴爻倬蹖乇 亘丕乇賴丕 丕卮丕乇賴 禺賵丕賴丿 卮丿. 賴賲賱鬲 乇丕 亘禺賵丕賳蹖丿 賵 賴賳诏丕賲 禺賵丕賳丿賳 丕蹖賳 讴鬲丕亘 賳爻禺賴鈥屫й� 丕夭 丌賳 乇丕 丿乇 丿爻鬲乇爻 丿丕卮鬲賴 亘丕卮蹖丿. 賴賲蹖賳鈥屫焚堌� 亘賴 趩賳丿 賳賲丕蹖卮賳丕賲賴鈥屰� 丿蹖诏乇 丕卮丕乇賴 禺賵丕賴蹖賲 讴乇丿. 丕诏乇 丌賳鈥屬囏� 乇丕 亘賴 禺賵亘蹖 賳賲蹖鈥屫促嗀ж驰屫� 亘丕 丕賵賱蹖賳 丕卮丕乇賴 亘賴 丕爻賲 賴乇 蹖讴 丕夭 丌賳鈥屬囏� 丨鬲賲丕 丌賳 乇丕 亘賴鈥屫官嗁堌з� 蹖讴 鬲讴賱蹖賮 亘禺賵丕賳蹖丿 賵 亘丕 賵乇賯 夭丿賳 爻乇蹖毓 賵 賲乇賵乇蹖 爻乇爻乇蹖 禺賵丿鬲丕賳 乇丕 诏賵賱 賳夭賳蹖丿.
丕蹖賳 丕孬乇 乇賵蹖 趩賴 賲賯賵賱賴鈥屫й� 賲鬲賲乇讴夭賴責
丿乇 丕蹖賳 讴鬲丕亘 賮賯胤 鬲讴賳蹖讴 卮乇丨 丿丕丿賴 卮丿賴 丕爻鬲 賵 丕蹖賳 卮賲丕 賴爻鬲蹖丿 讴賴 亘丕蹖丿 賯丿乇鬲 丕賱賯丕貙 乇賵卮賳诏乇蹖 賵 賯丕亘賱蹖鬲 鬲氐賵乇 禺賵丿 乇丕 亘賴 丌賳 丕囟丕賮賴 讴賳蹖丿. 丕蹖賳鈥屭堎嗁� 禺氐丕蹖氐 乇丕 讴爻蹖 賳賲蹖鈥屫堌з嗀� 亘賴 卮賲丕 亘蹖丕賲賵夭丿 蹖丕 丿乇亘丕乇賴鈥屰� 丌賳鈥屬囏� 讴鬲丕亘 亘賳賵蹖爻丿. 丨鬲蹖 鬲卮乇蹖丨 趩賳蹖賳 禺氐丕蹖氐蹖 讴丕乇 亘爻蹖丕乇 丿卮賵丕乇蹖 禺賵丕賴丿 亘賵丿. 丌诏丕賴蹖鈥屫з� 亘賴 鬲讴賳蹖讴 馗賴賵乇 丕蹖賳 氐賮丕鬲 乇丕 丿乇 卮賲丕 丕賲讴丕賳鈥屬矩佰屫� 賲蹖鈥屭┵嗀�. 丕蹖賳 賲賴丕乇鬲 賵 丕爻鬲丕丿蹖 丿乇 鬲讴賳蹖讴 丕爻鬲 讴賴 丿乇 賱丨馗丕鬲 丕噩鬲賳丕亘鈥屬嗀з矩佰屫臂� 讴賴 賯丕亘賱蹖鬲 鬲氐賵乇 賵 乇賵卮賳诏乇蹖 卮賲丕 丿賵乇 丕夭 丿爻鬲乇爻 丕爻鬲 亘賴 讴賲讴鬲丕賳 賲蹖鈥屫③屫� 賵 乇丕賴賳賲丕蹖蹖鈥屫з� 禺賵丕賴丿 讴乇丿 鬲丕 亘鬲賵丕賳蹖丿 诏賱蹖賲鬲丕賳 乇丕 丕夭 丌亘 亘蹖乇賵賳 亘讴卮蹖丿.
賲亘丕丨孬蹖 讴賴 丕夭卮賵賳 賲蹖诏賴貙 趩蹖丕 賴爻鬲賳責
賯爻賲鬲 丕賵賱: 賮乇賲
_趩賴 丕鬲賮丕賯蹖 賲蹖鈥屫з佖� 讴賴 亘丕毓孬 賲蹖鈥屫促堌� 蹖讴 丕鬲賮丕賯 丿蹖诏乇 亘蹖賮鬲丿責
_賵 亘毓丿 趩賴 丕鬲賮丕賯蹖 賲蹖鈥屫з佖�
_丨丕賱 丕蹖賳 讴丕乇 乇丕 丕夭 丌禺乇 亘賴 丕賵賱 丕賳噩丕賲 丿賴蹖丿
_爻讴賵賳 賵 鬲噩丕賵夭
_賲丕賳毓貙 讴卮賲讴卮
_賳丿丕賳爻鬲賳 賳毓賲鬲 丕爻鬲
_丕賱賲丕賳鈥屬囏й� 鬲卅丕鬲乇蹖
賯爻賲鬲 丿賵賲: 乇賵卮鈥屬囏�
_丌卮讴丕乇爻丕夭蹖 蹖丕 鬲卮乇蹖丨
_倬蹖卮丕蹖賳丿: 毓胤卮 丿丕賳爻鬲賳 丌賳趩賴 亘毓丿丕 丕鬲賮丕賯 賲蹖鈥屫з佖�
_卮禺氐 (卮禺氐蹖鬲) 賳丕倬蹖丿丕
_鬲氐賵蹖乇 (丕蹖賲丕跇)
冲賲賵囟賵毓
賯爻賲鬲 爻賵賲: 賮賵鬲 賵 賮賳 丨乇賮賴鈥屰� 鬲卅丕鬲乇
_丕胤賱丕毓丕鬲 倬蹖卮鈥屫操呟屬嗁�
_丕毓鬲賲丕丿 亘賴 賳賲丕蹖卮賳丕賲賴鈥屸€屬嗁堐屫�
冲禺丕賳賵丕丿赖鈥属囏�
_毓賵丕賲賱 毓賲賵賲蹖: 噩賵貙 丨丕賱鬲
_毓丕賲賱 亘蹖鈥屬呚з嗁嗀� (亘蹖鈥屫池жㄙ傎�)
_鬲睾蹖蹖乇 丿賵乇丕賳
_賳賯胤賴鈥屰� 丕賵噩
冲丌睾丕夭赖丕/倬丕蹖丕賳鈥属囏�
冲丿賵亘丕乇赖鈥屫堌з嗃�
_丕賲丕 亘毓丿 趩蹖責
鬲噩乇亘賴鈥屸€屫з� 丕夭 禺賵丕賳卮
賲賵丕噩賴賴 亘丕 丕蹖賳 讴鬲丕亘 禺蹖賱蹖 卮蹖乇蹖賳 賵 賱匕鬲鈥屫ㄘ� 亘賵丿. 亘丿賵賳 倬蹖趩蹖丿诏蹖貙 丕夭 乇丕賴讴丕乇賴丕蹖蹖 亘乇丕蹖 賮賴賲 亘蹖卮鬲乇 亘賴 賴賲乇丕賴 賲孬丕賱鈥屬囏р€屰� 毓蹖賳蹖 氐丨亘鬲 賲蹖鈥屭┴必� 賵 丿乇 丨蹖賳 賮氐賵賱貙 鬲讴丕賱蹖賮蹖 賴賲 亘賴 禺賵丕賳賳丿賴 賲蹖丿丕丿 鬲丕 亘賴 毓賳賵丕賳 鬲賲乇蹖賳 丕賳噩丕賲 亘丿賴. 讴賱丕爻 丿乇爻 丿賱趩爻亘蹖 讴賴 亘乇丕蹖 毓賲蹖賯 卮丿賳 鬲賱丕卮 賲蹖鈥屭┴必� 賵 丌禺乇 賴乇 噩賱爻賴貙 禺賱丕氐賴鈥屬嗁堐屫驰� 賴賲 亘乇丕鬲 賮乇丕賴賲 賲蹖鈥屭┴必�.
賲賲讴賳賴 丿蹖丿诏丕賴 賳賵蹖爻賳丿賴 乇賵 蹖賴 噩賵乇 禺賵丿亘乇鬲乇亘蹖賳蹖 鬲賱賯蹖 讴賳蹖賳. 趩賵賳 丕夭 鬲丨賱蹖賱鈥屬囏й� 爻胤丨蹖 賲蹖诏賴 賵 賲蹖鈥屭┵堌ㄙ堎嗁� 賵 丕賲讴丕賳 丿丕乇賴 亘賴 毓丿賴鈥屫й� 亘乇亘禺賵乇賴. 丕賲丕 氐乇賮丕 讴丕乇卮 賵蹖乇丕賳 讴乇丿賳 丕賳鬲賯丕丿丕鬲 丿蹖诏乇丕賳 賳蹖爻鬲. 禺賵丿卮 丕爻鬲丿賱丕賱 賲蹖丕乇賴 賵 鬲賵囟蹖丨 賲蹖丿賴 讴賴 乇丕賴 睾賱胤 趩蹖賴 賵 丿乇爻鬲卮 趩胤賵乇 賲蹖鬲賵賳賴 亘丕卮賴.
蹖賴 讴鬲丕亘 讴賲讴蹖 禺賵亘 丿乇 丕蹖賳 丨蹖胤賴 亘賴 卮賲丕乇 賲蹖乇賴 賵 賲蹖鈥屫堎嗃屬� 亘毓丿 丕夭 禺賵賳丿賳卮貙 亘丕乇賴丕 亘賴卮 亘乇诏乇丿蹖賳 賵 亘賴乇賴 亘亘乇蹖賳.
倬.賳: 趩賵賳 禺賵丿 賳賵蹖爻賳丿賴 丕夭 讴鬲丕亘卮 鬲賵囟蹖丨 丿丕丿貙 鬲乇噩蹖丨 丿丕丿賲 讴賴 鬲讴賴鈥屬囏й屰� 丕夭卮 乇賵 丕蹖賳噩丕 亘匕丕乇賲 賵 丕囟丕賮賴鈥屭堐屰� 賳讴賳賲. 趩賵賳 禺賵丿賲賲 丕诏賴 丨乇賮蹖 賲蹖鈥屫藏呚� 鬲讴乇丕乇 賲讴乇乇丕鬲蹖 亘蹖卮 賳亘賵丿.
May 7, 2023
讴鬲丕亘 禺蹖賱蹖 禺賵亘蹖 亘賵丿. 蹖讴 噩賵乇賴丕蹖蹖 讴賲讴賲 讴乇丿 讴賴 丿蹖丿诏丕賴 丿乇爻鬲鈥屫臂� 賳爻亘鬲 亘賴 賳賲丕蹖卮賳丕賲賴 禺賵丕賳丿賳 倬蹖丿丕 讴賳賲.
亘禺卮 賯丕亘賱 鬲賵噩賴蹖 丕夭 讴鬲丕亘 亘丕 丕乇噩丕毓 賲丿丕賲 亘賴 賳賲丕蹖卮賳丕賲賴 賴賲賱鬲 賳賵卮鬲賴 卮丿賴 賵 賵丕讴丕賵蹖 噩匕丕亘蹖 丿丕乇丿. 亘賴 賳馗乇賲 禺蹖賱蹖 禺賵亘 丕爻鬲 讴賴 亘毓丿 丕夭 賴賲賱鬲 禺賵丕賳丿賴 卮賵丿 鬲丕 亘丕 夭蹖乇 賵 亘賲 丕蹖賳 賳賲丕蹖卮賳丕賲賴 亘賴鬲乇 丌卮賳丕 卮賵蹖賲.
亘禺卮 賯丕亘賱 鬲賵噩賴蹖 丕夭 讴鬲丕亘 亘丕 丕乇噩丕毓 賲丿丕賲 亘賴 賳賲丕蹖卮賳丕賲賴 賴賲賱鬲 賳賵卮鬲賴 卮丿賴 賵 賵丕讴丕賵蹖 噩匕丕亘蹖 丿丕乇丿. 亘賴 賳馗乇賲 禺蹖賱蹖 禺賵亘 丕爻鬲 讴賴 亘毓丿 丕夭 賴賲賱鬲 禺賵丕賳丿賴 卮賵丿 鬲丕 亘丕 夭蹖乇 賵 亘賲 丕蹖賳 賳賲丕蹖卮賳丕賲賴 亘賴鬲乇 丌卮賳丕 卮賵蹖賲.
February 27, 2019
It is a bitter joke among my screenwriter friends that the way you get a TV show is that you create a truly interesting character, in a fascinating environment, whose family has complicated, fraught dynamics... "and he solves crimes."
It is a clich茅 among high school drama classes that Hamlet is about a man cursed with indecision. What is up with that guy? If Othello had been in his shoes, he'd have killed off Claudius in Act One, scene 2. (To be fair, if Hamlet had been in Othello's shoes, he'd have laid a trap for Iago.)
A playwright and perfessor named David Ball has written a really brilliant book on how to read plays called Backwards & Forwards. He makes the interesting point that to understand a play you have to read it, yep, backwards and forwards. Going forwards, anything can happen. Hamlet could find out his mother's married his uncle after his father died mysterious, and bugger off back to Wittenberg U. Hamlet could avoid the poisoned blade. Hamlet could turn out to have ingested small portions of the poison over years to render himself immune to it. But if you notice that (SPOILERS) at the end of the play he offs someone important (HAH NOT REALLY), you can work backwards step by step until you see the train of consequences that gets him there from the Ghost's first speech. Only then can you understand how the play is constructed.
And, in doing so, he makes a much more specific point. Hamlet is not at all indecisive -- once he knows that Claudius is guilty of murdering his father in Act Three.
How so?
Well, you see, in Elizabethan times, if you saw a ghost, you had no way of knowing if it was your father, as it appeared to be, or a vision sent by a witch or a devil. Sure, the ghost says that Claudius murdered him. But maybe he's lying!
So, for the first three acts, Hamlet is a detective. He adopts a pose of madness. He organizes a play for Claudius to watch about a nobleman who snatches a crown by murdering his brother -- and then he closely observes Claudius's reaction to it. He gives a soliloquy about killing himself when he knows that Polonius is spying on him. (It is not, in fact, a soliloquy!)
He is not indecisive. He does not know the facts. He very decisively seeks to get them.
Shakespeare is a funny playwright for modern audiences and modern theatre companies. His language is some of the best poetry in English. His plays, however, are not "poetic" at all. They are not "art plays." Their subject matter is always something clear: power, love, money, love vs. money, love vs. power, power vs. power. They have fast-moving plots, with twists and turns.
And the damn things are well nigh bulletproof. If you put on a Shakespeare play as is, you have one difficult task: get the actors to understand what the hell it is they're trying to say, and then say it like that is the way they talk. If you can do that, the play will work. It will work in period costumes, it will work in modern dress, it will work with the city guards wearing Victorian bobby helmets, it will work when all the characters are women and Mercutio is mortally wounded with a butter knife.
If you can figure out what people are saying, it is not at all hard to figure out what is going on. (E.g. "Now is the winter of our discontent made glorious summer by this sun of York..." = war is over, we Yorkists won, times are good, I hate my life.) Someone will quickly tell you, often three times. Richard III starts his play by telling you that he is a bad, bad man. Romeo & Juliet tells you it's a play about lovers who are, from the first, fucked.
On the other hand, if the actors don't know what they're saying, or think they're presenting poetry instead of people trying to get what they want by talking to other people, then it becomes a morass of poetic syllables. Good poetic syllables, very good, very excellent good, and yet they are but so so, because but no one wants to sit through five acts of that.
Shakespeare is also a funny playwright because his characters are so much more immediate and straightforward than most fictional characters in the intervening Victorian period, that we forget that he is a man from a different time. When he puts witches in his play, he means witches. They're not a metaphor, they're not (just) a plot device, they're actual witches. Everyone knows witches are real! Likewise his father's ghost is not a plot device, it is a real conundrum (true ghost? devilish vision?) that must be solved before Hamlet can righteously assassinate his uncle, the King.
(Hamlet's audiences were also extremely wary of the notion of killing kings, as we are not.)
Backwards and Forwards is a very short book, under a hundred pages, practically a pamphlet, so you have absolutely no excuse not to read it, whether you are a screenwriter or game designer, because it gets to the essence of what storytelling is. Go on. You won't be sorry.
It is a clich茅 among high school drama classes that Hamlet is about a man cursed with indecision. What is up with that guy? If Othello had been in his shoes, he'd have killed off Claudius in Act One, scene 2. (To be fair, if Hamlet had been in Othello's shoes, he'd have laid a trap for Iago.)
A playwright and perfessor named David Ball has written a really brilliant book on how to read plays called Backwards & Forwards. He makes the interesting point that to understand a play you have to read it, yep, backwards and forwards. Going forwards, anything can happen. Hamlet could find out his mother's married his uncle after his father died mysterious, and bugger off back to Wittenberg U. Hamlet could avoid the poisoned blade. Hamlet could turn out to have ingested small portions of the poison over years to render himself immune to it. But if you notice that (SPOILERS) at the end of the play he offs someone important (HAH NOT REALLY), you can work backwards step by step until you see the train of consequences that gets him there from the Ghost's first speech. Only then can you understand how the play is constructed.
And, in doing so, he makes a much more specific point. Hamlet is not at all indecisive -- once he knows that Claudius is guilty of murdering his father in Act Three.
How so?
Well, you see, in Elizabethan times, if you saw a ghost, you had no way of knowing if it was your father, as it appeared to be, or a vision sent by a witch or a devil. Sure, the ghost says that Claudius murdered him. But maybe he's lying!
So, for the first three acts, Hamlet is a detective. He adopts a pose of madness. He organizes a play for Claudius to watch about a nobleman who snatches a crown by murdering his brother -- and then he closely observes Claudius's reaction to it. He gives a soliloquy about killing himself when he knows that Polonius is spying on him. (It is not, in fact, a soliloquy!)
He is not indecisive. He does not know the facts. He very decisively seeks to get them.
Shakespeare is a funny playwright for modern audiences and modern theatre companies. His language is some of the best poetry in English. His plays, however, are not "poetic" at all. They are not "art plays." Their subject matter is always something clear: power, love, money, love vs. money, love vs. power, power vs. power. They have fast-moving plots, with twists and turns.
And the damn things are well nigh bulletproof. If you put on a Shakespeare play as is, you have one difficult task: get the actors to understand what the hell it is they're trying to say, and then say it like that is the way they talk. If you can do that, the play will work. It will work in period costumes, it will work in modern dress, it will work with the city guards wearing Victorian bobby helmets, it will work when all the characters are women and Mercutio is mortally wounded with a butter knife.
If you can figure out what people are saying, it is not at all hard to figure out what is going on. (E.g. "Now is the winter of our discontent made glorious summer by this sun of York..." = war is over, we Yorkists won, times are good, I hate my life.) Someone will quickly tell you, often three times. Richard III starts his play by telling you that he is a bad, bad man. Romeo & Juliet tells you it's a play about lovers who are, from the first, fucked.
On the other hand, if the actors don't know what they're saying, or think they're presenting poetry instead of people trying to get what they want by talking to other people, then it becomes a morass of poetic syllables. Good poetic syllables, very good, very excellent good, and yet they are but so so, because but no one wants to sit through five acts of that.
Shakespeare is also a funny playwright because his characters are so much more immediate and straightforward than most fictional characters in the intervening Victorian period, that we forget that he is a man from a different time. When he puts witches in his play, he means witches. They're not a metaphor, they're not (just) a plot device, they're actual witches. Everyone knows witches are real! Likewise his father's ghost is not a plot device, it is a real conundrum (true ghost? devilish vision?) that must be solved before Hamlet can righteously assassinate his uncle, the King.
(Hamlet's audiences were also extremely wary of the notion of killing kings, as we are not.)
Backwards and Forwards is a very short book, under a hundred pages, practically a pamphlet, so you have absolutely no excuse not to read it, whether you are a screenwriter or game designer, because it gets to the essence of what storytelling is. Go on. You won't be sorry.
December 27, 2024
胤蹖 鬲賯乇蹖亘丕 郾鄣郯 氐賮丨賴貙 讴丕賲賱丕 賲禺鬲氐乇 賵 賲賮蹖丿 丕夭 夭蹖乇 賵 亘賲 禺賵丕賳卮 蹖丕 賳賵卮鬲賳 蹖丕 亘賴 乇賵蹖 氐丨賳賴 亘乇丿賳 賳賲丕蹖卮賳丕賲賴 丌诏丕賴 卮丿賲. 夭亘丕賳 讴鬲丕亘 爻丕丿賴 爻鬲 賵 倬乇 丕夭 賲孬丕賱 賴丕蹖蹖 賴爻鬲 讴賴 讴賲讴 讴賳賳丿賴 丕賳丿.讴丕卮 丕蹖賳 讴鬲丕亘 乇賵 賯亘賱 丕夭 禺賵丕賳卮 賳賲丕蹖卮賳丕賲賴 賴丕蹖蹖 讴賴 鬲丕 亘賴 丕賲乇賵夭 禺賵賳丿賲貙 賲蹖鈥屫堎嗀�.
November 12, 2022
讴鬲丕亘 賲禺鬲氐乇 賵 賲賮蹖丿蹖賴 讴賴 賲蹖卮賴 蹖讴鈥屫辟堌操� 鬲賲賵賲卮 讴乇丿 賵賱蹖 丿乇诏蹖乇蹖 賲賳 亘丕賴丕卮 賲丿鬲蹖 胤賵賱 讴卮蹖丿. 讴鬲丕亘 乇丕噩毓鈥� 亘賴 禺賵丕賳卮 賵 丿乇讴 亘賴鬲乇 蹖讴 丕孬乇 賳賲丕蹖卮蹖 賵 賳丨賵賴鈥屰� 毓賲賱讴乇丿 丕賵賳賴. 賳賲蹖丿賵賳賲 卮丿賴 鬲丕 丨丕賱丕 丕夭 丿乇 蹖賴 爻丕賱賳 賳賲丕蹖卮 亘蹖乇賵賳 丕賵賲丿賴 亘丕卮蹖丿 賵 賲胤賱賯丕賸 賴蹖趩 趩蹖夭蹖 丕夭 丕鬲賮丕賯丕蹖蹖 讴賴 丕賮鬲丕丿賴 乇賵 賳賮賴賲蹖丿賴 亘丕卮蹖丿貙 丨鬲蹖 賴蹖趩 丨爻蹖 丿乇賵賳鬲賵賳 卮讴賱 賳诏乇賮鬲賴. 丌乇賴 賲賲讴賳賴 丕卮讴丕賱 丿乇 丕噩乇丕蹖 丕賵賳 讴丕乇 亘賵丿賴 亘丕卮賴 賵 丕氐賱丕 賯乇丕乇 賳蹖爻鬲 讴賴 丕孬乇 賳賲丕蹖卮蹖 蹖賴 乇丕夭 賲亘賴賲 丿乇賵賳卮 亘丕卮賴 賵 賲丕 倬丕卮蹖賲 亘乇蹖賲 乇賵蹖 氐賳丿賱蹖鈥屬囏й� 爻丕賱賳 亘卮蹖賳蹖賲貙 讴賱蹖丿 诏卮丕蹖卮 乇丕夭賴丕 乇賵 倬蹖丿丕 讴賳蹖賲 賵 丕夭 丕賵賳 亘賴 丕丿乇丕讴 賵 賮賱爻賮賴 亘乇爻蹖賲 賵賱蹖 亘賴 賳馗乇賲 丕蹖賳 毓丿賲 丕乇鬲亘丕胤 亘蹖卮鬲乇 亘賴 卮賳丕禺鬲 賲丕 丕夭 丕蹖賳 賴賳乇 亘乇賲蹖鈥屭必�. 卮丕蹖丿 禺蹖賱蹖 賵賯鬲鈥屬囏� 亘賴 賵噩賵丿 丕賵賲丿賳 丕丨爻丕爻丕鬲蹖 卮禺氐蹖 賵 丿乇賵賳蹖貙 亘乇丕賲賵賳 讴丕賮蹖賴. 丕蹖賳 讴鬲丕亘 卮丕蹖丿 亘乇丕蹖 賮賴賲蹖丿賳賽 亘賴鬲乇賽 賴賲蹖賳 丨丿丕賯賱鈥屬囏� -丕丨爻丕爻丕鬲 卮禺氐蹖賲賵賳- 乇丕賴诏卮丕 賵 讴賲讴鈥屭┵嗁嗀� 亘丕卮賴 賵 賴賲賵賳胤賵乇 讴賴 亘乇丕蹖 蹖讴 賴賳乇賲賳丿 鬲卅丕鬲乇蹖 "丿賵賳爻鬲賳 丕蹖賳讴賴 趩賴 趩蹖夭蹖 亘丕毓孬 鬲蹖讴鈥屫и� 爻丕毓鬲 賲蹖鈥屫促� 賲賴賲鈥屫� 丕夭 丕蹖賳賴 讴賴 亘丿賵賳賴 爻丕毓鬲 趩賳丿賴"貙 亘賴 賳馗乇賲 亘乇丕蹖 蹖賴 鬲賲丕卮丕趩蹖 賴賲 賴賲蹖賳鈥屫蹿┵勠屬�.
禺蹖賱蹖 丕夭 噩丕賴丕蹖 讴鬲丕亘 亘賴 亘乇丿丕卮鬲鈥屬囏й� 睾賱胤賽 丕噩乇丕讴賳賳丿賴鈥屬囏� 賵 禺賵丕賳賳丿賴鈥屬囏й� 丌孬丕乇 賳賲丕蹖卮蹖 賲蹖鈥屬矩必ж操� 賵 讴賳噩讴丕賵鬲 賲蹖鈥屭┵嗁� 讴賴 亘乇诏乇丿蹖 亘賴 賳賲丕蹖卮賳丕賲賴鈥屬囏й屰� 讴賴 禺賵賳丿蹖 賵 亘亘蹖賳蹖 讴賴 毓丿賲 卮賳丕禺鬲 丿乇爻鬲 丕夭 噩夭卅蹖丕鬲 蹖讴 賳賲丕蹖卮賳丕賲賴 亘丕毓孬 卮丿賴 趩賴 賱丨馗丕鬲 賳丕亘蹖 乇賵 丕夭 丿爻鬲 亘丿蹖貙 賲鬲賵噩賴卮賵賳 賳卮蹖 賵 鬲丕夭賴 亘賴 丕蹖賳 亘乇爻蹖 讴賴: "禺賵丕賳丿賳 禺賵亘 丕賵賱蹖賳 賲乇丨賱踿 讴丕乇 丕爻鬲."
禺蹖賱蹖 丕夭 噩丕賴丕蹖 讴鬲丕亘 亘賴 亘乇丿丕卮鬲鈥屬囏й� 睾賱胤賽 丕噩乇丕讴賳賳丿賴鈥屬囏� 賵 禺賵丕賳賳丿賴鈥屬囏й� 丌孬丕乇 賳賲丕蹖卮蹖 賲蹖鈥屬矩必ж操� 賵 讴賳噩讴丕賵鬲 賲蹖鈥屭┵嗁� 讴賴 亘乇诏乇丿蹖 亘賴 賳賲丕蹖卮賳丕賲賴鈥屬囏й屰� 讴賴 禺賵賳丿蹖 賵 亘亘蹖賳蹖 讴賴 毓丿賲 卮賳丕禺鬲 丿乇爻鬲 丕夭 噩夭卅蹖丕鬲 蹖讴 賳賲丕蹖卮賳丕賲賴 亘丕毓孬 卮丿賴 趩賴 賱丨馗丕鬲 賳丕亘蹖 乇賵 丕夭 丿爻鬲 亘丿蹖貙 賲鬲賵噩賴卮賵賳 賳卮蹖 賵 鬲丕夭賴 亘賴 丕蹖賳 亘乇爻蹖 讴賴: "禺賵丕賳丿賳 禺賵亘 丕賵賱蹖賳 賲乇丨賱踿 讴丕乇 丕爻鬲."
December 17, 2024
讴鬲丕亘 禺蹖賱蹖 禺賵亘 賵 賲賮蹖丿蹖 亘賵丿. 賲乇爻蹖 丕夭 爻毓蹖丿 賵丕爻賴 賲毓乇賮蹖卮.
May 8, 2014
This text is incredible. I've been reading plays for about 14 years now, so I kind of thought I had the process of script reading down pretty well, but this book has changed how I will read scripts, probably forever. The concept of reading a play is simple, but Backwards and Forwards pinpoints very succinctly the elements to look for as a reader, especially when reading as an actor, director or designer. I got about two chapters in before I realized I needed to start highlighting key points. I don't normally do that unless it's required reading for a class. Which really, this should be, for all early-level acting courses. I can't wait to apply this to future readings of scripts, or even re-readings of scripts I read before reading this.
July 19, 2020
毓噩亘 讴鬲丕亘 卮诏賮鬲鈥屫з嗂屫槽� 亘乇丕蹖 賵乇賵丿 亘賴 丿賳蹖丕蹖 賳賲丕蹖卮賳丕賲賴 賵 丿乇讴 亘賴鬲乇 丌賳... 亘丕蹖丿 丕賱賲丕賳 亘賴 丕賱賲丕賳 卮賳丕爻丕蹖蹖 讴乇丿 賵 倬蹖卮 乇賮鬲. 賵诏乇賳賴 賮賴賲 賲丕 丕夭 蹖讴 賳賲丕蹖卮 賵 賮囟丕蹖 丌賳 毓賯蹖賲 賲蹖鈥屬呚з嗀�. 讴鬲丕亘 亘賴鈥屬傌臂� 毓賲賱蹖 賳賵卮鬲賴 卮丿賴 讴賴 賲蹖鈥屫堌з� 倬爻 丕夭 丌賳 亘賱丕賮丕氐賱賴 賳賲丕蹖卮賳丕賲賴鈥屫й� 乇丕 亘乇丿丕卮鬲 賵 賮乇賲賵賱鈥屬囏й� 丕蹖賳 讴鬲丕亘 乇丕 乇賵蹖 丌賳 倬蹖丕丿賴 讴乇丿.
February 25, 2021
I might have been able to focus on his actual good analysis of play reading if he had focused on it instead of shaming every single "dummy" that hasn't read Shakespeares' entire canon multiple times. So many contradictions between his analysis and rules for reading, that it is clear that this book was more of a way to express what he thinks of Hamlet than to help anyone else. For a man hell-bent on shaming others in the theatre, he sure is trying to suck all of the artistic passion out of it. It is this type of pretentious attitude that turns people away from the theatre, since artistic expression, although abetted and aided by analysis, essentially stems from an emotional core. Stop shaming your reader, and go find some passion for what you tell us you love.
October 20, 2011
David Ball has some for real stuff to say about script analysis but most of it is so damn obvious you wonder who would bother to drop $17.95 for it. If it weren't a required textbook. Some of us who didn't want to give him any money found it in library reserves.
Here's why I didn't want to give him any money: 1. A lot of what is said should be obvious to anyone who's seen more than like two plays in thier life. I don't want anyone who hasn't had more theater exposure than that to have anything to do with the theater I see, or especially by god based on personal experience help to produce, so no sympathy. 2. Most of the rest of what is said is his opinion. Which is fine but should not be presented as gospel. Or, 3. Like a huge dick who thinks he's really the shit when it comes to interpreting.
Here's why I didn't want to give him any money: 1. A lot of what is said should be obvious to anyone who's seen more than like two plays in thier life. I don't want anyone who hasn't had more theater exposure than that to have anything to do with the theater I see, or especially by god based on personal experience help to produce, so no sympathy. 2. Most of the rest of what is said is his opinion. Which is fine but should not be presented as gospel. Or, 3. Like a huge dick who thinks he's really the shit when it comes to interpreting.
Read
January 19, 2023What production of Hamlet hurt David Ball???
I really enjoyed this! An excellent rudimentary guide to understanding plays from a writing angle. I wouldn't necessarily recommend this as a learning method for designers--I get the sense he does not fully understand what we do--but I very much enjoyed this, and am looking forward to rereading and diving more in depth.
I really enjoyed this! An excellent rudimentary guide to understanding plays from a writing angle. I wouldn't necessarily recommend this as a learning method for designers--I get the sense he does not fully understand what we do--but I very much enjoyed this, and am looking forward to rereading and diving more in depth.
September 12, 2021
鄄郾/鄱/郾鄞郯郯
郾鄣:郯郯
讴鬲丕亘 亘賴 賳讴丕鬲蹖 讴賴 亘乇丕蹖 丕噩乇丕貙亘丕夭蹖诏乇蹖貙讴丕乇诏乇丿丕賳蹖貙胤乇丕丨蹖 賵 禺賵丕賳丿賳 蹖讴 賳賲丕蹖卮賳丕賲賴 亘賴 氐賵乇鬲 賲卮鬲乇讴 賳蹖丕夭 丿丕乇蹖賲 賲蹖倬乇丿丕夭賴 賵 丕夭 爻賴 賮氐賱 鬲卮讴蹖賱 卮丿賴.
禺賱丕氐賴 賮氐賱 蹖讴 乇賵 賮毓賱丕 丕蹖賳噩丕 賲蹖夭丕乇賲 亘毓丿丕 亘賯蹖賴 乇賵 丕囟丕賮賴 賲蹖讴賳賲.
賮氐賱 丕賵賱:賮乇賲
趩賴 丕鬲賮丕賯蹖 亘丕毓孬 賲蹖卮賵丿 丕鬲賮丕賯 丿蹖诏乇蹖 亘蹖賵賮鬲丿責
禺賱丕氐賴 : 賴乇 趩蹖夭蹖 讴賴 丕鬲賮丕賯 賲蹖 丕賮鬲丿 賲蹖 鬲賵丕賳丿 蹖讴 丨丕丿孬賴 亘丕卮丿 . 賴乇诏丕賴 蹖讴 丨丕丿孬賴 亘丕毓孬 卮賵丿 蹖丕 丕噩丕夭賴 丿賴丿 丨丕丿孬賴 丿蹖诏乇蹖 丕鬲賮丕賯 亘蹖賮鬲丿 貙 丕蹖賳 丿賵 丨丕丿孬賴 亘丕賴賲 蹖讴 毓賲賱 乇丕 鬲卮讴蹖賱 賲蹖 丿賴賳丿 . 毓賲賱賴丕 丌噩乇賴丕蹖 丕氐賱蹖 爻丕禺鬲賲丕賳 蹖讴 賳賲丕蹖卮賳丕賲賴 賴爻鬲賳丿 . 亘丕 乇賵蹖 賴賲 诏匕丕卮鬲賳 丌賳賴丕 爻丕禺鬲賲丕賳 賳賲丕蹖卮 讴丕賲賱 賲蹖 卮賵丿
亘毓丿 趩賴 賲蹖卮賵丿責
禺賱丕氐賴 : 蹖讴 毓賲賱 丕夭 丿賵 丨丕丿孬賴 鬲卮讴蹖賱 賲蹖 卮賵丿 : 賲丨乇讴 賵 賴丿賮 . 賴乇 賴丿賮蹖 禺賵丿 賲丨乇讴蹖 丕爻鬲 亘乇丕蹖 毓賲賱 亘毓丿蹖 . 亘賳丕亘乇丕蹖賳 毓賲賱賴丕 賲丕賳賳丿 賲賴乇賴 賴丕蹖 丿賵賲蹖賳賵 賴爻鬲賳丿 讴賴 爻賯賵胤 蹖讴蹖 亘丕毓孬 丕賮鬲丕丿賳 丿蹖诏乇蹖 賲蹖 卮賵丿 . 鬲噩夭蹖賴 賵鬲丨賱蹖賱 倬蹖 丿乇 倬蹖 亘賴 丕蹖賳 賲毓賳蹖 丕爻鬲 讴賴 爻賯賵胤 賲賴乇賴 賴丕蹖 蹖讴 賳賲丕蹖卮賳丕賲賴 乇丕 蹖讴蹖 倬爻 丕夭 丿蹖诏乇蹖 丕夭 丕亘鬲丿丕 鬲丕 丕賳鬲賴丕 丿賳亘丕賱 讴賳蹖賲
.
丨丕賱 丕蹖賳 讴丕乇乇丕 丕夭 丕賵賱 亘賴 丌禺乇 丕賳噩丕賲 丿賴蹖丿.
禺賱丕氐賴: 鬲噩夭蹖賴 賵鬲丨賱賷賱 賲爻賱爻賱 賵丕乇 毓賲賱 賴丕蹖 蹖讴 賳賲丕蹖卮賳丕賲賴 賴賳诏丕賲蹖 讴丕賲賱 賵 賲賮蹖丿 丕爻鬲 讴賴 亘賴 氐賵乇鬲 賲毓讴賵爻 賳蹖夭 丕賳噩丕賲 诏蹖乇丿 貨 蹖毓賳蹖 丕夭 倬丕蹖丕賳 蹖讴 賳賲丕蹖卮 鬲丕 亘賴 丌睾丕夭 丌賳 . 亘賴鬲乇蹖賳 囟賲丕賳鬲 亘乇丕蹖 丿乇讴 蹖讴 賳賲丕蹖卮 丿乇 丕蹖賳 丕爻鬲 讴賴 亘丿丕賳蹖丿 賴乇 丨丕丿孬賴 丕蹖 亘賴 趩賴 丿賱蹖賱蹖 丕鬲賮丕賯 賲蹖 丕賮鬲丿 . 鈥�
爻讴賵賳 賵 鬲噩丕賵夭
禺賱丕氐賴:爻讴賵賳 賵囟毓蹖鬲 賲鬲毓丕丿賱 賲賵噩賵丿 丿乇 丿賳蹖丕蹖 蹖讴 賳賲丕蹖卮賳丕賲賴 丕爻鬲 讴賴 鬲丕 丌睾丕夭 賳賲丕蹖卮賳丕賲賴 丕丿丕賲賴 丿丕卮鬲賴 丕爻鬲 . 鬲噩丕賵夭 丌賳 趩蹖夭蹖 丕爻鬲 讴賴 丕蹖賳 賲賵賯毓蹖鬲 賲鬲毓丕丿賱 乇丕 丌卮賮鬲賴 賲蹖 讴賳丿 貙 亘丕毓孬 乇賴丕蹖蹖 賳蹖乇賵賴丕蹖 賲鬲囟丕丿蹖 賲蹖 卮賵丿 讴賴 賳賲丕蹖卮 乇丕 亘賴 倬蹖卮 賲蹖 乇丕賳賳丿 . 丌賳 夭賲丕賳 讴賴 賲噩賲賵毓賴 丕蹖賳 賳蹖乇賵賴丕 丿蹖诏乇 亘丕賴賲 鬲囟丕丿蹖 賳丿丕卮鬲賴 亘丕卮賳丿 貙 爻讴賵賳 鬲丕夭賴 丕蹖 亘賴 丿爻鬲 賲蹖 丌蹖丿 賵 賳賲丕蹖卮 亘賴 倬丕蹖丕賳 賲蹖 乇爻丿 .
賲丕賳毓貙讴卮賲讴卮
禺賱丕氐賴 : 賴賲蹖卮賴 蹖讴 賲夭丕丨賲 蹖丕 蹖讴 賲丕賳毓 亘乇 爻乇 乇丕賴 丌賳 趩蹖夭蹖 讴賴 卮禺氐蹖鬲 賲蹖禺賵丕賴丿 賯乇丕乇 丿丕乇丿 . 丿賱蹖賱 氐丨亘鬲 讴乇丿賳 卮禺氐蹖鬲 丕蹖賳 丕爻鬲 讴賴 亘鬲賵丕賳丿 丕夭 胤乇蹖賯 丨乇賮 夭丿賳 丕蹖賳 賲丕賳毓 乇丕 丕夭 亘蹖賳 亘亘乇丿 鬲丕 亘賴 丌賳趩賴 賲蹖 禺賵丕賴丿 亘乇爻丿 . 亘賴 丕蹖賳 賲賳馗賵乇 貙 丕賵 亘賴 胤乇蹖賯蹖 卮禺氐蹖鬲 丿蹖诏乇 ( 蹖丕 卮禺氐蹖鬲 賴丕蹖 丿蹖诏乇 ) 乇丕 賲噩亘賵乇 賲蹖 讴賳丿 丕夭 爻乇 乇丕賴 禺賵丕爻鬲卮 讴賳丕乇 亘乇賵賳丿 . 亘乇丕蹖 丿乇讴 讴丕賲賱 诏賮鬲 賵诏賵蹖 賳賲丕蹖卮蹖 貙 卮賲丕 亘丕蹖丿 丕賵賱 亘丿丕賳蹖丿 讴賴 诏賵蹖賳丿蹅 讴賱丕賲 趩賴 賲蹖 禺賵丕賴丿 賵 趩诏賵賳賴 丕夭 诏賮鬲丕乇 禺賵蹖卮 亘賴 賲賳馗賵乇 丕夭 爻乇 乇丕賴 亘乇丿丕卮鬲賳 丌賳趩賴 賲丕賳毓 乇爻蹖丿賳 亘賴 禺賵丕爻鬲 丕賵爻鬲 貙 丕爻鬲賮丕丿賴 賲蹖 讴賳丿 .
賳丿丕賳爻鬲賳 賳毓賲鬲 丕爻鬲
禺賱丕氐賴: 丕睾賱亘 丕氐賱 讴賱蹖 鬲賳卮 賳賲丕蹖卮 亘乇 丕蹖賳 丕爻鬲賵丕乇 丕爻鬲 讴賴 鬲賲丕卮丕趩蹖 丕夭 賴賲賴 趩蹖夭 亘丕禺亘乇 賳亘丕卮丿 . 賴丿賮 賳賲丕蹖卮 乇丕 亘丕 毓蹖丕賳 讴乇丿賳 賴賲賴 趩蹖夭 倬蹖卮 丕夭 賵賯鬲 賲賵毓賵丿 丌賳 亘賴 賴丿乇 賳丿賴蹖丿 . 賳丿丕賳爻鬲賳 鬲賲丕卮丕趩蹖 禺賵丿 賳毓賲鬲蹖 丕爻鬲
丕賱賲丕賳 賴丕蹖 鬲卅丕鬲乇蹖
禺賱丕氐賴 : 丕賳 丕賱賲丕賳蹖 讴賴 亘丕毓孬 鬲賵噩賴 賵 丿乇诏蹖乇蹖 鬲賲丕卮丕趩蹖 亘丕 賳賲丕蹖卮 亘卮賵丿 鬲卅丕鬲乇蹖 丕爻鬲 . 賳賲丕蹖卮賳丕賲賴 賳賵蹖爻丕賳 禺賵亘 賲賴賲鬲乇蹖賳 賲胤賱亘 賳賲丕蹖卮卮丕賳 乇丕 丿乇 鬲卅丕鬲乇蹖 鬲乇蹖賳 賱丨馗賴 賳賲丕蹖卮 禺賵蹖卮 賲蹖 诏賳噩丕賳賳丿 貙 夭蹖乇丕 亘賴 丕蹖賳 賵爻蹖賱賴 賲蹖 鬲賵丕賳賳丿 丕夭 賳賴丕蹖鬲 鬲賵噩賴 鬲賲丕卮丕趩蹖 丕爻鬲賮丕丿賴 讴賳賳丿 . 卮賳丕爻丕蹖蹖 賱丨馗賴 賴丕蹖 鬲卅丕鬲乇蹖 蹖讴 賳賲丕蹖卮賳丕賲賴 讴賲讴 亘夭乇诏蹖 丕爻鬲 亘賴 丕蹖賳讴賴 趩蹖夭賴丕蹖蹖 乇丕 讴賴 賳賲丕蹖卮賳丕賲賴 賳賵蹖爻 賲賴賲 賲蹖 丿丕賳丿 亘賴 爻丕丿诏蹖 讴卮賮 讴賳蹖丿 .
郾鄣:郯郯
讴鬲丕亘 亘賴 賳讴丕鬲蹖 讴賴 亘乇丕蹖 丕噩乇丕貙亘丕夭蹖诏乇蹖貙讴丕乇诏乇丿丕賳蹖貙胤乇丕丨蹖 賵 禺賵丕賳丿賳 蹖讴 賳賲丕蹖卮賳丕賲賴 亘賴 氐賵乇鬲 賲卮鬲乇讴 賳蹖丕夭 丿丕乇蹖賲 賲蹖倬乇丿丕夭賴 賵 丕夭 爻賴 賮氐賱 鬲卮讴蹖賱 卮丿賴.
禺賱丕氐賴 賮氐賱 蹖讴 乇賵 賮毓賱丕 丕蹖賳噩丕 賲蹖夭丕乇賲 亘毓丿丕 亘賯蹖賴 乇賵 丕囟丕賮賴 賲蹖讴賳賲.
賮氐賱 丕賵賱:賮乇賲
趩賴 丕鬲賮丕賯蹖 亘丕毓孬 賲蹖卮賵丿 丕鬲賮丕賯 丿蹖诏乇蹖 亘蹖賵賮鬲丿責
禺賱丕氐賴 : 賴乇 趩蹖夭蹖 讴賴 丕鬲賮丕賯 賲蹖 丕賮鬲丿 賲蹖 鬲賵丕賳丿 蹖讴 丨丕丿孬賴 亘丕卮丿 . 賴乇诏丕賴 蹖讴 丨丕丿孬賴 亘丕毓孬 卮賵丿 蹖丕 丕噩丕夭賴 丿賴丿 丨丕丿孬賴 丿蹖诏乇蹖 丕鬲賮丕賯 亘蹖賮鬲丿 貙 丕蹖賳 丿賵 丨丕丿孬賴 亘丕賴賲 蹖讴 毓賲賱 乇丕 鬲卮讴蹖賱 賲蹖 丿賴賳丿 . 毓賲賱賴丕 丌噩乇賴丕蹖 丕氐賱蹖 爻丕禺鬲賲丕賳 蹖讴 賳賲丕蹖卮賳丕賲賴 賴爻鬲賳丿 . 亘丕 乇賵蹖 賴賲 诏匕丕卮鬲賳 丌賳賴丕 爻丕禺鬲賲丕賳 賳賲丕蹖卮 讴丕賲賱 賲蹖 卮賵丿
亘毓丿 趩賴 賲蹖卮賵丿責
禺賱丕氐賴 : 蹖讴 毓賲賱 丕夭 丿賵 丨丕丿孬賴 鬲卮讴蹖賱 賲蹖 卮賵丿 : 賲丨乇讴 賵 賴丿賮 . 賴乇 賴丿賮蹖 禺賵丿 賲丨乇讴蹖 丕爻鬲 亘乇丕蹖 毓賲賱 亘毓丿蹖 . 亘賳丕亘乇丕蹖賳 毓賲賱賴丕 賲丕賳賳丿 賲賴乇賴 賴丕蹖 丿賵賲蹖賳賵 賴爻鬲賳丿 讴賴 爻賯賵胤 蹖讴蹖 亘丕毓孬 丕賮鬲丕丿賳 丿蹖诏乇蹖 賲蹖 卮賵丿 . 鬲噩夭蹖賴 賵鬲丨賱蹖賱 倬蹖 丿乇 倬蹖 亘賴 丕蹖賳 賲毓賳蹖 丕爻鬲 讴賴 爻賯賵胤 賲賴乇賴 賴丕蹖 蹖讴 賳賲丕蹖卮賳丕賲賴 乇丕 蹖讴蹖 倬爻 丕夭 丿蹖诏乇蹖 丕夭 丕亘鬲丿丕 鬲丕 丕賳鬲賴丕 丿賳亘丕賱 讴賳蹖賲
.
丨丕賱 丕蹖賳 讴丕乇乇丕 丕夭 丕賵賱 亘賴 丌禺乇 丕賳噩丕賲 丿賴蹖丿.
禺賱丕氐賴: 鬲噩夭蹖賴 賵鬲丨賱賷賱 賲爻賱爻賱 賵丕乇 毓賲賱 賴丕蹖 蹖讴 賳賲丕蹖卮賳丕賲賴 賴賳诏丕賲蹖 讴丕賲賱 賵 賲賮蹖丿 丕爻鬲 讴賴 亘賴 氐賵乇鬲 賲毓讴賵爻 賳蹖夭 丕賳噩丕賲 诏蹖乇丿 貨 蹖毓賳蹖 丕夭 倬丕蹖丕賳 蹖讴 賳賲丕蹖卮 鬲丕 亘賴 丌睾丕夭 丌賳 . 亘賴鬲乇蹖賳 囟賲丕賳鬲 亘乇丕蹖 丿乇讴 蹖讴 賳賲丕蹖卮 丿乇 丕蹖賳 丕爻鬲 讴賴 亘丿丕賳蹖丿 賴乇 丨丕丿孬賴 丕蹖 亘賴 趩賴 丿賱蹖賱蹖 丕鬲賮丕賯 賲蹖 丕賮鬲丿 . 鈥�
爻讴賵賳 賵 鬲噩丕賵夭
禺賱丕氐賴:爻讴賵賳 賵囟毓蹖鬲 賲鬲毓丕丿賱 賲賵噩賵丿 丿乇 丿賳蹖丕蹖 蹖讴 賳賲丕蹖卮賳丕賲賴 丕爻鬲 讴賴 鬲丕 丌睾丕夭 賳賲丕蹖卮賳丕賲賴 丕丿丕賲賴 丿丕卮鬲賴 丕爻鬲 . 鬲噩丕賵夭 丌賳 趩蹖夭蹖 丕爻鬲 讴賴 丕蹖賳 賲賵賯毓蹖鬲 賲鬲毓丕丿賱 乇丕 丌卮賮鬲賴 賲蹖 讴賳丿 貙 亘丕毓孬 乇賴丕蹖蹖 賳蹖乇賵賴丕蹖 賲鬲囟丕丿蹖 賲蹖 卮賵丿 讴賴 賳賲丕蹖卮 乇丕 亘賴 倬蹖卮 賲蹖 乇丕賳賳丿 . 丌賳 夭賲丕賳 讴賴 賲噩賲賵毓賴 丕蹖賳 賳蹖乇賵賴丕 丿蹖诏乇 亘丕賴賲 鬲囟丕丿蹖 賳丿丕卮鬲賴 亘丕卮賳丿 貙 爻讴賵賳 鬲丕夭賴 丕蹖 亘賴 丿爻鬲 賲蹖 丌蹖丿 賵 賳賲丕蹖卮 亘賴 倬丕蹖丕賳 賲蹖 乇爻丿 .
賲丕賳毓貙讴卮賲讴卮
禺賱丕氐賴 : 賴賲蹖卮賴 蹖讴 賲夭丕丨賲 蹖丕 蹖讴 賲丕賳毓 亘乇 爻乇 乇丕賴 丌賳 趩蹖夭蹖 讴賴 卮禺氐蹖鬲 賲蹖禺賵丕賴丿 賯乇丕乇 丿丕乇丿 . 丿賱蹖賱 氐丨亘鬲 讴乇丿賳 卮禺氐蹖鬲 丕蹖賳 丕爻鬲 讴賴 亘鬲賵丕賳丿 丕夭 胤乇蹖賯 丨乇賮 夭丿賳 丕蹖賳 賲丕賳毓 乇丕 丕夭 亘蹖賳 亘亘乇丿 鬲丕 亘賴 丌賳趩賴 賲蹖 禺賵丕賴丿 亘乇爻丿 . 亘賴 丕蹖賳 賲賳馗賵乇 貙 丕賵 亘賴 胤乇蹖賯蹖 卮禺氐蹖鬲 丿蹖诏乇 ( 蹖丕 卮禺氐蹖鬲 賴丕蹖 丿蹖诏乇 ) 乇丕 賲噩亘賵乇 賲蹖 讴賳丿 丕夭 爻乇 乇丕賴 禺賵丕爻鬲卮 讴賳丕乇 亘乇賵賳丿 . 亘乇丕蹖 丿乇讴 讴丕賲賱 诏賮鬲 賵诏賵蹖 賳賲丕蹖卮蹖 貙 卮賲丕 亘丕蹖丿 丕賵賱 亘丿丕賳蹖丿 讴賴 诏賵蹖賳丿蹅 讴賱丕賲 趩賴 賲蹖 禺賵丕賴丿 賵 趩诏賵賳賴 丕夭 诏賮鬲丕乇 禺賵蹖卮 亘賴 賲賳馗賵乇 丕夭 爻乇 乇丕賴 亘乇丿丕卮鬲賳 丌賳趩賴 賲丕賳毓 乇爻蹖丿賳 亘賴 禺賵丕爻鬲 丕賵爻鬲 貙 丕爻鬲賮丕丿賴 賲蹖 讴賳丿 .
賳丿丕賳爻鬲賳 賳毓賲鬲 丕爻鬲
禺賱丕氐賴: 丕睾賱亘 丕氐賱 讴賱蹖 鬲賳卮 賳賲丕蹖卮 亘乇 丕蹖賳 丕爻鬲賵丕乇 丕爻鬲 讴賴 鬲賲丕卮丕趩蹖 丕夭 賴賲賴 趩蹖夭 亘丕禺亘乇 賳亘丕卮丿 . 賴丿賮 賳賲丕蹖卮 乇丕 亘丕 毓蹖丕賳 讴乇丿賳 賴賲賴 趩蹖夭 倬蹖卮 丕夭 賵賯鬲 賲賵毓賵丿 丌賳 亘賴 賴丿乇 賳丿賴蹖丿 . 賳丿丕賳爻鬲賳 鬲賲丕卮丕趩蹖 禺賵丿 賳毓賲鬲蹖 丕爻鬲
丕賱賲丕賳 賴丕蹖 鬲卅丕鬲乇蹖
禺賱丕氐賴 : 丕賳 丕賱賲丕賳蹖 讴賴 亘丕毓孬 鬲賵噩賴 賵 丿乇诏蹖乇蹖 鬲賲丕卮丕趩蹖 亘丕 賳賲丕蹖卮 亘卮賵丿 鬲卅丕鬲乇蹖 丕爻鬲 . 賳賲丕蹖卮賳丕賲賴 賳賵蹖爻丕賳 禺賵亘 賲賴賲鬲乇蹖賳 賲胤賱亘 賳賲丕蹖卮卮丕賳 乇丕 丿乇 鬲卅丕鬲乇蹖 鬲乇蹖賳 賱丨馗賴 賳賲丕蹖卮 禺賵蹖卮 賲蹖 诏賳噩丕賳賳丿 貙 夭蹖乇丕 亘賴 丕蹖賳 賵爻蹖賱賴 賲蹖 鬲賵丕賳賳丿 丕夭 賳賴丕蹖鬲 鬲賵噩賴 鬲賲丕卮丕趩蹖 丕爻鬲賮丕丿賴 讴賳賳丿 . 卮賳丕爻丕蹖蹖 賱丨馗賴 賴丕蹖 鬲卅丕鬲乇蹖 蹖讴 賳賲丕蹖卮賳丕賲賴 讴賲讴 亘夭乇诏蹖 丕爻鬲 亘賴 丕蹖賳讴賴 趩蹖夭賴丕蹖蹖 乇丕 讴賴 賳賲丕蹖卮賳丕賲賴 賳賵蹖爻 賲賴賲 賲蹖 丿丕賳丿 亘賴 爻丕丿诏蹖 讴卮賮 讴賳蹖丿 .
March 14, 2025
Accessible, brilliant, fun. Makes you want to go write! Mission accomplished! Read it if you have any interest at all in drama or narratives or storytelling in general!
March 9, 2023
David Ball reminds me of one of those teachers who accidentally does damage to the eager student. Like one of those abusive dads who thinks he's teaching their kid a lesson, but the kid ends up bitter and fearful of being vulnerable with art. What part, what play, what director, what production of Hamlet hurt you David Ball? Solid points are made in this manual (though repetitive and obvious) but at the expense of inspiring wonder, curiosity, and joy in the theater artist. I wonder two things: if David Ball can conjure up creative examples that don't involve the word "slut" or "stripper," and I wonder if he can rewrite this manual sans douche-baggery? I'm guessing no? Go to the theater, read plays, take acting classes, read the play before seeing it staged, find joy in this beautiful art form. And don't spend time with the David Balls of your life.
January 15, 2015
I don't ever leave reviews. So, when I do, you know it's bad.
If you have ever taken an English class at middle-school level or higher, read a book, or seen a play, you are at the level of this book. However, if you have some masochistic desire to be spoken to condescendingly by a man who clearly believes he has unlocked the Holy Grail of theatre, go ahead.
This book is dry, repetitive, simplistic, and dull. There is little he has to offer about Hamlet that hasn't been discussed in a high school class, and his overview of reading and interpreting scripts is bland and written in broad generalizations.
Please don't waste your money or your time reading this.
If you have ever taken an English class at middle-school level or higher, read a book, or seen a play, you are at the level of this book. However, if you have some masochistic desire to be spoken to condescendingly by a man who clearly believes he has unlocked the Holy Grail of theatre, go ahead.
This book is dry, repetitive, simplistic, and dull. There is little he has to offer about Hamlet that hasn't been discussed in a high school class, and his overview of reading and interpreting scripts is bland and written in broad generalizations.
Please don't waste your money or your time reading this.
April 12, 2020
It was fine. There are some good nuggets for playwrights and directors, usually summarized as the "focus" at the end of chapters. His hero worship of Hamlet as a text was, frankly, exhausting. I ended up rereading the play a few pages into this book just so I could understand all of his examples. Mostly it felt like a script analysis of Hamlet which wasn't really what I was looking for. I thought it was a book about script analysis and structure.
The writer honestly comes off as a pretty pretentious theater professor, grounded in the classics-as-gospel mindset, and who name-drops the table of contents of my Norton Anthology of Theatre like he might get a kickback.
The writer honestly comes off as a pretty pretentious theater professor, grounded in the classics-as-gospel mindset, and who name-drops the table of contents of my Norton Anthology of Theatre like he might get a kickback.
August 16, 2020
丕蹖賳 讴鬲丕亘 亘乇丕蹖 讴爻丕蹖蹖 賲孬賱 賲賳 讴賴 亘丕 賳賲丕蹖卮賳丕賲賴 禺蹖賱蹖 丕乇鬲亘丕胤 亘乇賯乇丕乇 賳賲蹖讴賳賳 賵賱蹖 丿賵爻鬲 丿丕乇賳 讴賴 賳賲丕蹖卮賳丕賲賴 亘禺賵賳賳 毓丕賱蹖賴.
丿蹖賵蹖丿 亘丕賱 鬲賵賳爻鬲賴 讴鬲丕亘 乇賵 噩賵乇蹖 亘賳賵蹖爻賴 讴賴 賴賲 亘賴 丿乇丿 蹖讴 禺賵丕賳賳丿賴 蹖 賲毓賲賵賱蹖賴 賳賲丕蹖卮賳丕賲賴 亘禺賵乇賴 賴賲 亘乇丕蹖 讴爻丕蹖蹖 讴賴 禺蹖賱蹖 丨乇賮賴 丕蹖 丿乇 鬲卅丕鬲乇 賲卮睾賵賱 讴丕乇 丕賳丿.
丿蹖賵蹖丿 亘丕賱 禺蹖賱蹖 賲賮氐賱 賵 亘丕 賲孬丕賱 夭丿賳 丕夭 賳賲丕蹖卮賳丕賲賴 賴丕蹖 賲禺鬲賱賮 夭蹖乇 賵 亘賲 蹖讴 賳賲丕蹖卮賳丕賲賴 乇賵 亘賴 賲丕 賳卮賵賳 賲蹖丿賴 賵 賲丕 乇賵 亘丕 賮賳賵賳蹖 讴丕乇亘乇丿蹖 丌卮賳丕 賲蹖讴賳賴.
賲賳 讴賴 亘賴 卮禺氐賴 禺蹖賱蹖 丕夭卮 蹖丕丿 诏乇賮鬲賲 賵 賳诏丕賴賲 乇賵 亘賴 讴賱蹖 賳爻亘鬲 亘賴 賳賲丕蹖卮賳丕賲賴 鬲睾蹖蹖乇 丿丕丿.
丿乇囟賲賳 鬲乇噩賲賴鈥� 丨乇賮 賳丿丕乇賴.
丿蹖賵蹖丿 亘丕賱 鬲賵賳爻鬲賴 讴鬲丕亘 乇賵 噩賵乇蹖 亘賳賵蹖爻賴 讴賴 賴賲 亘賴 丿乇丿 蹖讴 禺賵丕賳賳丿賴 蹖 賲毓賲賵賱蹖賴 賳賲丕蹖卮賳丕賲賴 亘禺賵乇賴 賴賲 亘乇丕蹖 讴爻丕蹖蹖 讴賴 禺蹖賱蹖 丨乇賮賴 丕蹖 丿乇 鬲卅丕鬲乇 賲卮睾賵賱 讴丕乇 丕賳丿.
丿蹖賵蹖丿 亘丕賱 禺蹖賱蹖 賲賮氐賱 賵 亘丕 賲孬丕賱 夭丿賳 丕夭 賳賲丕蹖卮賳丕賲賴 賴丕蹖 賲禺鬲賱賮 夭蹖乇 賵 亘賲 蹖讴 賳賲丕蹖卮賳丕賲賴 乇賵 亘賴 賲丕 賳卮賵賳 賲蹖丿賴 賵 賲丕 乇賵 亘丕 賮賳賵賳蹖 讴丕乇亘乇丿蹖 丌卮賳丕 賲蹖讴賳賴.
賲賳 讴賴 亘賴 卮禺氐賴 禺蹖賱蹖 丕夭卮 蹖丕丿 诏乇賮鬲賲 賵 賳诏丕賴賲 乇賵 亘賴 讴賱蹖 賳爻亘鬲 亘賴 賳賲丕蹖卮賳丕賲賴 鬲睾蹖蹖乇 丿丕丿.
丿乇囟賲賳 鬲乇噩賲賴鈥� 丨乇賮 賳丿丕乇賴.
October 13, 2020
I read this for my Playwriting class in college. It's an interesting read, and does a good job dissecting the different elements to focus on when reading a play. It was helpful in giving me more to think about. He referenced a lot of plays, and I had read the majority of them which was cool (Go Bard Book Club!). Some of it seemed kind of basic, and it also seemed like he didn't allow for many other schools of thought than his own. Overall, a good way of describing the methods to reading a play and really going into it.
November 20, 2019
Well, I need to buy this book. A brief manual that's interesting to read and is powerful in its instruction. I've noticed that the more established a professional is in their field, the more succinct their instructions are.
November 14, 2022
I had to read Backwards and Forwards for an acting class. The book does its job in that it explains the mechanisms and terminology of acting technique...but the examples it gives are so arbitrary and off-the-wall that it becomes so difficult to take it seriously, especially for academia purposes.
May 28, 2021
Incredible walkthrough of the mechanics of fiction. Surprisingly colorful
January 25, 2022
Read for class. Good ideas, but Ball is off his rocker!
May 18, 2022
the frustrating thing is that when he鈥檚 right, he鈥檚 right. the rest of the time i would get in a shouting match with him over hamlet and dramatic conflict.
May 9, 2024
he鈥檚 a genius low key
June 16, 2021
Amazing books for actors and directors
February 5, 2022
Unnecessarily snarky, which I don't appreciate, but a really helpful tool that I will strive to use in the future. I do disagree with the interpretation of the "to be or not to be" monologue though.
August 23, 2022
This simple how-to breaks down all the elements that are essential to writing a successful dramatic production. Author David Ball uses Hamlet and many other production examples to show the reader how elements like exposition, action and dialogue impact a play's effectiveness.
The book illustrates how powerful simple writing is, with examples that show why every word matters for a play. It will make playwrights think more carefully during the editing process, to set up narratives that captivate audiences from beginning to end. It helps directors ensure plays are staged correctly and helps actors better understand the motivations behind and backgrounds of their characters.
I'd recommend this book to any creative writer who wants to write tighter, better stories. It's already made me rethink ways to improve any creative writing I'm working on. It's a quick read I'll re-read in the future for its practical, helpful, easy-to-understand writing and editing tips.
The book illustrates how powerful simple writing is, with examples that show why every word matters for a play. It will make playwrights think more carefully during the editing process, to set up narratives that captivate audiences from beginning to end. It helps directors ensure plays are staged correctly and helps actors better understand the motivations behind and backgrounds of their characters.
I'd recommend this book to any creative writer who wants to write tighter, better stories. It's already made me rethink ways to improve any creative writing I'm working on. It's a quick read I'll re-read in the future for its practical, helpful, easy-to-understand writing and editing tips.
Read
August 29, 2024this thing was 91 pages and i read it for david ryan's class. frankly, too much on shakespeare, but ok
February 3, 2024
I only had to read part one for class, but genuinely I enjoyed it. The material was interesting to learn, as well as the stupid side-plot about the author wanting to steal the reader's stamps was cracking me up to no end 馃槀馃挄
April 23, 2010
Another overdue book from the library. Recommended by 'becoming a dramaturgist' friend Deb, I had to ask my local library to find it somewhere else in the state. By the time I got the book, the time allowed to read, even this slim book, was not adequate.
Author David Ball was a professor in the Drama Department at Carnegie Mellon when he wrote this book. He has impeccable credentials since then as well. That being said, I found some of his writing rather juvenile. He refers to those who don't understand a play as "dumb readers". Once you get past those types of comments, which are probably meant to draw in the especially educated readers of his book and as a joke, his concept of playreading is fascinating.
His primary suggestion is that you cannot understand a play in totality unless you can connect all the dots. Why do things happen and what propels them and he posits that by being able to start at the end and work your way to the beginning of the play you will see those important connections.
Using HAMLET as a major focus, he discusses how the play can be built to the best advantage for performance. A crucial read for directors, playwrights, and dramaturgists.
Author David Ball was a professor in the Drama Department at Carnegie Mellon when he wrote this book. He has impeccable credentials since then as well. That being said, I found some of his writing rather juvenile. He refers to those who don't understand a play as "dumb readers". Once you get past those types of comments, which are probably meant to draw in the especially educated readers of his book and as a joke, his concept of playreading is fascinating.
His primary suggestion is that you cannot understand a play in totality unless you can connect all the dots. Why do things happen and what propels them and he posits that by being able to start at the end and work your way to the beginning of the play you will see those important connections.
Using HAMLET as a major focus, he discusses how the play can be built to the best advantage for performance. A crucial read for directors, playwrights, and dramaturgists.
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