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 86
... appearance each night was , he says , nerve- wracking : he knew that the audience , after a dark opening scene with a faintly luminescent ghost ( the modern costumes only vaguely visible ) , was waiting for the jolt of the court scene ...
... appearance each night was , he says , nerve- wracking : he knew that the audience , after a dark opening scene with a faintly luminescent ghost ( the modern costumes only vaguely visible ) , was waiting for the jolt of the court scene ...
Página 140
... appearance , each took an end of it and tugged their ' friend ' gently down stage ; this was countered by Hamlet's reeling them in conspira- torially on ' Were you not sent for ? ' ) . For Hobson , Warner had ' inner authority ' despite ...
... appearance , each took an end of it and tugged their ' friend ' gently down stage ; this was countered by Hamlet's reeling them in conspira- torially on ' Were you not sent for ? ' ) . For Hobson , Warner had ' inner authority ' despite ...
Página 166
... as full range as possible to a woman's part that in the text is left truncated and undeveloped , this ' new ' Ophelia ( who began to make her appearance as early as 1925 ) is clearly a response to different ways of [ 166 ]
... as full range as possible to a woman's part that in the text is left truncated and undeveloped , this ' new ' Ophelia ( who began to make her appearance as early as 1925 ) is clearly a response to different ways of [ 166 ]
Contenido
Performing Hamlets meanings | 1 |
Hamlet on stage 16001900 | 23 |
old ways meet the new stagecraft | 67 |
Derechos de autor | |
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Términos y frases comunes
acting action actor April audience Barrymore Barrymore's Barton Booth Branagh British castle century character Claudius Claudius's closet scene costumes court critics cultural curtain David Warner death Derek Jacobi designed despite Director duel early texts effect Elsinore emphasis eyes face famous father feeling film final Fortinbras Garrick Gertrude Gertrude's Ghost Gielgud Glenn Close Gravedigger Hamlet hand Horatio Irving Irving's John John Barrymore John Gielgud Kean Kean's Kenneth Branagh King kiss Kozintsev Laertes later lines look mad scene marked meta-theatricality modern mother move nunnery scene Old Vic Olivier Olivier's Ophelia Osric Paul Scofield pause Pennington performance perhaps Peter Donaldson play scene play's Player plot political Polonius Polonius's Prince production promptbook Queen quoted reading revenge role Romantic Rosencrantz and Guildenstern Royal seems sense sexual Shakespeare soliloquy speak speech Stratford suggests sword tender theatre theatrical tion tradition turned Victorian whole Zadek Zeffirelli