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 54
... mother , as with Ophelia , Booth was various and complex . Entering with latent combativeness ' , he swung be- tween ... mother's degradation . This Hamlet certainly did not enter into the darkness with her , as some modern ones have ...
... mother , as with Ophelia , Booth was various and complex . Entering with latent combativeness ' , he swung be- tween ... mother's degradation . This Hamlet certainly did not enter into the darkness with her , as some modern ones have ...
Página 65
... mother , and son was given extra power by two innovations . First , Irving dispensed with both portraits and ... mother's soul ; second , the ghost entered , as in Q1 , in ' his night gowne ' , again adding a domestic touch and , most ...
... mother , and son was given extra power by two innovations . First , Irving dispensed with both portraits and ... mother's soul ; second , the ghost entered , as in Q1 , in ' his night gowne ' , again adding a domestic touch and , most ...
Página 130
... mother , there was again the combination of deter- mination , tenderness , and pain . He came in with Claudius's sword , startling the Queen as she turned from brushing her hair at the table . Her cry led to Polonius's shout , and then ...
... mother , there was again the combination of deter- mination , tenderness , and pain . He came in with Claudius's sword , startling the Queen as she turned from brushing her hair at the table . Her cry led to Polonius's shout , and then ...
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
acting action actor appearance approach audience Barrymore became become beginning body Booth called centre century changes character Claudius clear close complete course court critics cultural curtain death designed despite developed directed Director earlier early effect emphasis especially example eyes face fact famous father feeling film final followed Garrick Gertrude Ghost Gielgud give given Hamlet hand helped Horatio idea interest interpretation Irving John kind King Laertes later less light lines look madness marked meaning moment mother move natural nunnery Olivier Olivier's once opening Ophelia performance perhaps physical play Player political Polonius possible present Prince production Queen quoted reading relation remained role Royal scene seems seen sense Shakespeare side social soliloquy speak speech stage suggests sword theatre theatrical thought tion tradition turned wanted whole young