Shakespeare Goes to ParisA&C Black, 2005 M02 1 - 270 páginas It has sometimes been assumed that the difficulty of translating Shakespeare into French has meant that he has had little influence in France. Shakespeare Goes to Paris proves the opposite. Virtually unknown in France in his lifetime, and for well over a hundred years after his death, Shakespeare was discovered in the first half of the eighteenth century, as part of a growing French interest in England. Since then, Shakespeare's impact in France has been enormous. Writers, from Voltaire to Gide, found themsleves baffled, frustrated, mesmerised but overawed by a playwright who broke all the rules of French classical theatre and challenged the primacy of French culture. Attempts to tame and translate him alternated with uncritical idolisation, such as that of Berlioz and Hugo. Changing attitudes to Shakespeare have also been an index of French self-esteem, as John Pemble shows in his sparkingly written book |
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Página xvi
... nature . ' It's as though you are transported to a tropical landscape ' , wrote one nineteenth - century critic of the encounter with Shakespeare , everything swells and runs riot under the action of a splendid sun . The flowers smoke ...
... nature . ' It's as though you are transported to a tropical landscape ' , wrote one nineteenth - century critic of the encounter with Shakespeare , everything swells and runs riot under the action of a splendid sun . The flowers smoke ...
Página xviii
... nature then took delight in producing in France the greatest men in all the arts , and in assem- bling at the court the finest specimens of men and women that had ever existed.9 This vision , made ever more alluring as conflict and ...
... nature then took delight in producing in France the greatest men in all the arts , and in assem- bling at the court the finest specimens of men and women that had ever existed.9 This vision , made ever more alluring as conflict and ...
Página 8
... natural ' . They spoke as one did in life , in a room . Moreover they made use of what was called ' panto- mime ' to an extent that French actors never did . They registered emotion and sensation by means of gesture , facial expression ...
... natural ' . They spoke as one did in life , in a room . Moreover they made use of what was called ' panto- mime ' to an extent that French actors never did . They registered emotion and sensation by means of gesture , facial expression ...
Página 11
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Contenido
1 | |
2 A Genius in the Kingdom of Taste | 17 |
3 Stranger within the Gates | 43 |
4 A Story without an Ending | 69 |
5 Desdemonas Handkerchief | 93 |
6 His Hour upon the Stage | 119 |
7 The Trumpets of Fortinbras | 141 |
8 Waiting for Shakespeare | 165 |
9 The Metamorphosis of Envy | 185 |
Notes | 209 |
Index | 231 |
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Académie Française actors André Antoine André Gide anglaise Antoine artistic audience Barrault Baty beauty became Bourget British Chasles civilisation classical Comédie-Française Copeau Corneille critical cultural décor Delacroix Deschamps drama dramatique dramatist Ducis Dumas eighteenth century Encyclopédie English essay Etudes Fortinbras française France François-Victor Hugo French stage French theatre Gémier genius Gide's goût Hamlet Harriet Smithson Histoire Hugo Hugo's human Ibid idea intellectual Jacques Copeau Jean Jean-Louis Barrault King language Le Tourneur Lear less Lettres literary Littéraire littérature London Louis Macbeth Marmontel mind modern Molière never nineteenth century nouvelle édn Odéon Œuvres complètes Othello Paris Parisian performance Philarète Chasles Pierre Le Tourneur Pitoëff play poet poetry prose race Racine recognised Renaissance Revue Romantic Sarah Bernhardt sense Shake Shakespeare in France speare Staël Taine Taine's taste théâtre theatrical tion tragedy tragic trans translation verse Victor Hugo Vigny Voltaire Voltaire's word writing wrote