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. |
Dentro del libro
Resultados 1-3 de 69
Página 55
... lines of V.ii , which had since Betterton's time always been cut . But as Clarke shrewdly noted , the main reason was to make time for the set change from the elabo- rately realistic graveyard ( complete with grass , foliage , a heap of ...
... lines of V.ii , which had since Betterton's time always been cut . But as Clarke shrewdly noted , the main reason was to make time for the set change from the elabo- rately realistic graveyard ( complete with grass , foliage , a heap of ...
Página 81
... lines about Hamlet's dispatch of Rosencrantz and Guildenstern . This of course served to enhance Hamlet's gentlemanly and gracious princeliness , but suppressed his more dangerous and aggres- sive side . Barrymore began the scene twenty ...
... lines about Hamlet's dispatch of Rosencrantz and Guildenstern . This of course served to enhance Hamlet's gentlemanly and gracious princeliness , but suppressed his more dangerous and aggres- sive side . Barrymore began the scene twenty ...
Página 184
... lines . The personal , private dimension is given its last emphasis when Horatio turns back to kiss Hamlet on the forehead as he bids him ' Good night , sweet prince , / And flights of angels sing thee to thy rest ' , the famous line ...
... lines . The personal , private dimension is given its last emphasis when Horatio turns back to kiss Hamlet on the forehead as he bids him ' Good night , sweet prince , / And flights of angels sing thee to thy rest ' , the famous line ...
Contenido
Performing Hamlets meanings | 1 |
Hamlet on stage 16001900 | 23 |
old ways meet the new stagecraft | 67 |
Derechos de autor | |
Otras 10 secciones no mostradas
Otras ediciones - Ver todas
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