HamletManchester University Press, 1995 - 261 páginas In this illuminating study, Anthony Dawson surveys the stage history of Hamlet from its appearance in Shakespeare's time to the efflorescence of new and challenging productions in our own. He vividly re-creates more than a dozen representative performances across three centuries. Bringing together theatre history and the interests of cultural criticism and performance theory, Dawson traces the Anglo-American acting tradition and provides a succinct account of the interpretative problems associated with texts, character, design, and the production of meaning. The final chapters extend the analysis to a number of film versions, notably those of Olivier, Kozintsev and Zeffirelli, as well as to several important European stage productions. |
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Página 35
... feeling - even the bursts of anger develop from grief ; any sense of delay , significantly reduced anyway because of the cut text , can be seen as an expression of sorrow ; and the decision finally to act , strongly emphasized by ...
... feeling - even the bursts of anger develop from grief ; any sense of delay , significantly reduced anyway because of the cut text , can be seen as an expression of sorrow ; and the decision finally to act , strongly emphasized by ...
Página 39
... feelings of his character and be transported beyond himself ' ( quoted in Donohue 220 ) . At another time , he provides a small instance of how feeling and technique may combine ; describing the brief pause he habitually made in the ...
... feelings of his character and be transported beyond himself ' ( quoted in Donohue 220 ) . At another time , he provides a small instance of how feeling and technique may combine ; describing the brief pause he habitually made in the ...
Página 137
... feeling and ironic awareness of his failure sealed his performance and gave it its characteristic shading . ... Both the depth and the inchoateness of his feeling were a source of his appeal to the youth of the time [ 137 ]
... feeling and ironic awareness of his failure sealed his performance and gave it its characteristic shading . ... Both the depth and the inchoateness of his feeling were a source of his appeal to the youth of the time [ 137 ]
Contenido
Hamlet on stage 16001900 | 23 |
old ways meet | 67 |
Gielgud and Olivier in the 1930s | 97 |
Derechos de autor | |
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Términos y frases comunes
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