The Bernhardt Hamlet: Culture and ContextP. Lang, 1996 - 266 páginas Critics regarded Sarah Bernhardt's interpretation of Hamlet in 1899 as the revelation of Shakespeare's tragedy in France. The Bernhardt Hamlet is the first to investigate that production and to explain its context and its impact upon the cultural life of the time. Bernhardt's most significant innovation was her rejection of romantic sensibility in favor of the revenge tradition. In assuming a male role, she remained within the theatrical tradition of travesti that came to full fruition in the nineteenth century. Classically trained, the 54-year-old Bernhardt refashioned the Hamlet inheritance with insight, vigor, and originality. |
Dentro del libro
Resultados 1-3 de 28
Página 100
... movement . " " 182 Bernhardt's advice to the young Mary Marquet , to whom she taught the role of L'Aiglon in 1915 , indicates just how meticulous she was in determining movement that is characteristically masculine . It also reveals the ...
... movement . " " 182 Bernhardt's advice to the young Mary Marquet , to whom she taught the role of L'Aiglon in 1915 , indicates just how meticulous she was in determining movement that is characteristically masculine . It also reveals the ...
Página 179
... movement , moreover , appear in the film as described in criticism of her stage performances . Only the ending of the film differs from the theatrical performance , for on stage , Hamlet's death was elongated and was shown in relation ...
... movement , moreover , appear in the film as described in criticism of her stage performances . Only the ending of the film differs from the theatrical performance , for on stage , Hamlet's death was elongated and was shown in relation ...
Página 185
... movements , which are spasmodic and semi - circular . As his pain increases in intensity , it is reflected in the movement of the cloak which continues towards the Prince's left as he , beginning with his right foot , steps diagonally ...
... movements , which are spasmodic and semi - circular . As his pain increases in intensity , it is reflected in the movement of the cloak which continues towards the Prince's left as he , beginning with his right foot , steps diagonally ...
Contenido
The Performed Text | 45 |
IV | 55 |
Literary Theatrical Cultural | 67 |
Derechos de autor | |
Otras 6 secciones no mostradas
Términos y frases comunes
13 June 26 December According acting actor actress adaptation appeared approach audience Beerbohm Bernhardt's Hamlet character Charles clipping in Enthoven Comédie-Française concerning considered contemporary continued costume critic curtain Daily Telegraph death direction Dowden Dumas-Meurice effect Elizabethan employed English Enthoven Collection entire example expression fact feminine fencing France French Ghost hand Henry Irving included indicates influence initial interpretation John King Laertes lines London madness maintains means moreover Mounet-Sully movement nineteenth century observed Ophelia original pantomime Paris performance Plate play Players Polonius portrait possible practice première present Prince production production of Hamlet question quoted regarded remained response reveals revenge reviewer Robins role romantic Sarah Bernhardt scene Schwob-Morand Scott seen Shakespeare similar soliloquy speech Sprague stage suggested sword tableau theatre theatrical tradition translation travesti Tree University Press voice women World York young