Louis Fantasia – författare

Instant Shakespeare offers a straightforward, accessible and practical set of ground rules for performing Shakespeare, expanded and refined in performances and workshops throughout the world. These enable performers, directors and teachers of all backgrounds and levels of experience to demystify Shakespeare's complex language and perform his plays in a clear, fresh and unpretentious manner. Writing in a direct and humorous style, Louis Fantasia shows how to understand both the vocabulary and the structure and essential dramatic event of each play. He provides exercise monologues, exercise scenes and tools for textual analysis; explains correct breathing; and lays out his philosophies of training and performance.

In an era of Twitter and televised therapy, it may seem that classic theatre has little place in contemporary society. Accustomed to the indulgences of a celebrity-driven culture, how can modern audiences understand and interpret classic works of drama?In Tragedy in the Age of Oprah: Essays on Five Great Plays, Louis Fantasia provides a provocative examination of the relationship between popular culture and classical tragedy. Making a persuasive argument for the lessons tragedy has to offer today’s audiences, Fantasia examines five enduring works of theatre: Euripides’ Medea, William Shakespeare’s King Lear, Jean Racine’s Phèdre, Friedrich Schiller’s Mary Stuart, and Eugene O’Neill’s Long Day’s Journey into Night. Fantasia discusses in detail each of these plays, framing them in a contemporary context that explores the suffering, responsibility, and identity that tragedy advocates.Each play is presented as an engaging, powerful encounter for the reader, recreating as closely as possible the impact of a great performance. A unique look at the role classical theatre can and should play in contemporary society, these essays reveal the lessons great plays have to teach us about ourselves. Directed toward theatre professionals and students, Tragedy in the Age of Oprah will also resonate with anyone interested in theatre, literature, and cultural studies.

In an era of Twitter and televised therapy, it may seem that classic theatre has little place in contemporary society. Accustomed to the indulgences of a celebrity-driven culture, how can modern audiences understand and interpret classic works of drama?In Tragedy in the Age of Oprah: Essays on Five Great Plays, Louis Fantasia provides a provocative examination of the relationship between popular culture and classical tragedy. Making a persuasive argument for the lessons tragedy has to offer today’s audiences, Fantasia examines five enduring works of theatre: Euripides’ Medea, William Shakespeare’s King Lear, Jean Racine’s Phèdre, Friedrich Schiller’s Mary Stuart, and Eugene O’Neill’s Long Day’s Journey into Night. Fantasia discusses in detail each of these plays, framing them in a contemporary context that explores the suffering, responsibility, and identity that tragedy advocates.Each play is presented as an engaging, powerful encounter for the reader, recreating as closely as possible the impact of a great performance. A unique look at the role classical theatre can and should play in contemporary society, these essays reveal the lessons great plays have to teach us about ourselves. Directed toward theatre professionals and students, Tragedy in the Age of Oprah will also resonate with anyone interested in theatre, literature, and cultural studies.

Talking Shakespeare is a collection of essays on Shakespeare’s plays and politics and their impact in the world today. Originally given as provocative talks on Shakespeare at some of the most prestigious universities, conferences, and theatres around the world, they reflect on the author’s more than thirty-year career as a producer, director and educator. The essays provide a unique and personal look into multiple aspects of Shakespeare’s world—and ours.

Playing Shakespeare’s Lovers examines Shakespeare’s romantic characters from multiple perspectives. Contributing actors, directors, educators and scholars bring diverse and wide-ranging insights into the motives, context, history and challenges of performing Shakespeare’s "infinite variety" of lovers. The volume begins with an introductory essay, followed by brief essays and interviews, on various characters within the world of Shakespeare’s lovers.

The essays in Playing Shakespeare’s Villains trouble our assumptions of what—and who—constitutes "villainy" in Shakespeare’s works, through probing and provocative analyses of the murky moral logics at play in the Bard’s oeuvre. Shakespeare spreads before us a panoply of evil, villainy, and amorality—of characters doing bad things for good reasons, bad things for bad reasons, and bad things for no reason at all. How does Shakespeare handle culpability and consequence? How much does he justify his villains’ actions? How much do we enjoy watching people get away with murder and mayhem? What are we to make of the moral universe that Shakesperare presents: a universe in which some villains are punished and others seem to be rewarded; where mischief can quickly turn violent; and where an entire world can be brought down by someone’s willful insistence on having one’s way? Questions like these animate the discussions in this lively volume, the second in the Playing Shakespeare’s Characters series.

Playing Shakespeare’s Beautiful People is an in-depth, comprehensive look at the concepts and standards of "beauty" found in Shakespeare’s plays and poems, both in staged performances and in critical literary analyses. Issues as challenging as race, gender, sex, and power come into play when discussing who or what is "beautiful" in Shakespeare — and who gets to make that determination. How do we address or perform "beauty" today in a manner that is both consistent with 21st century conceptions of diversity and equity, while still honoring the integrity of Shakespeare’s texts, even as we interrogate them?In this volume, the fifth in the series of Playing Shakespeare’s Characters, ten distinguished contributors, including Shakespearean scholars, art historians, playwrights, actors, philosophers, visual artists, and educators, bring their unique and provocative responses to Shakespeare’s challenge for us to "look on beauty."

Playing Shakespeare’s Rebels and Tyrants is the fourth volume in the Peter Lang series, Playing Shakespeare’s Characters. As in the previous volumes, a broad range of contributors (actors, directors, scholars, educators, etc.) analyze the concepts of rebellion, tyranny, leadership, empathy with not only references to Elizabethan and Jacobean studies, but also to Donald Trump, the social justice movement, and the January 6, 2021 insurrection. Shakespeare's rebels occupy space in both the personal and political, and often quickly turn from rebel to tyrant once in power. How can Shakespeare's text inform current conversations about race, equity, representation, rebellion and tyranny? Who gets to define the power dynamics in Shakespeare’s plays? This volume looks at the Henrys, Hotspurs, Richards, Lears, Brutuses and Caesars, as well as the Juliets, Rosalinds and Cordelias who make up the panoply of Shakespeares rebels and tyrants.

Curated from the first four volumes of Peter Lang's Playing Shakespeare's Characters series, this omnibus edition selects the most practical essays for actors and directors wanting to play and produce Shakespeare's plays. The dozen contributors in this volume explore ways to play Shakespeare's lovers, villains, monarch, madmen, rebels, and tyrants. It gives critical guidance for directors and producers wanting to stage Shakespeare in the age of Black Lives Matter and #MeToo. The book is a valuable companion for students, actors, directors, and designers who want insight into playing Shakespeare today.

What do the Dead Sea Scrolls and frog overlays have to do with performing Shakespeare? They''re both part of Louis Fantasia''s approach in Instant Shakespeare. Mr. Fantasia, the first American to direct at the Shakespeare Globe Centre and a distinguished member of the international theatre community, has developed a pragmatic and uniquely American performance technique. Expanded and refined in performances and workshops throughout the world, Instant Shakespeare allows performers, directors, and teachers of all cultures and levels of experience to demystify Shakespeare and perform his texts in ways that are clear, fresh, and unpretentious. Mr. Fantasia''s methods are solidly grounded in a rigorous analysis of the text and structure of Shakespeare''s plays, and enriched by his insight into Elizabethan performance practices gleaned from his intimate association with the reconstruction of the Globe. Through Instant Shakespeare, novices and professionals alike achieve the textual clarity, nuanced characters, and dynamic actions that drive the most vigorous Shakespearean performances. Mr. Fantasia''s respectful but irreverent approach pinpoints the shortcomings of contemporary Shakespeare practice and training, particularly generic and postmodern interpretations, and confronts theatre artists with the importance of conscious personal responsibility for the creative process. Employing analogies from music and architecture, he insists upon the hard and sometimes tedious work that necessarily underlies solid artistic choices. Mr. Fantasia shows how to understand Shakespeare''s vocabulary as well as the structure and essential dramatic event of each play. He provides exercise monologues, exercise scenes, and tools for textual analysis; explains correct breathing; and lays out his philosophies of training and performance.