Lear from Study to Stage: Essays in CriticismJames Ogden, Arthur Hawley Scouten Fairleigh Dickinson Univ Press, 1997 - 305 páginas The late William Ringler, Jr. and James Ogden examine the theatrical tradition from Shakespeare's time to the nineteenth century. The history of literary criticism to Bradley and beyond is sketched in the introduction, and recent criticism is described in more detail by Richard Levin. Carol Rutter's essay on the women characters in the play is inspired partly by feminist criticism and partly by recent productions. The productions of the last thirty years are covered by theater critic Benedict Nightingale, and the major film versions by Anthony Davies and Stephen Phillips. Finally, Stuart Sillars presents a "visual history," an account of artistic responses that suggests further possibilities for both research and teaching. |
Dentro del libro
Resultados 1-5 de 52
Página 14
... editions ) , which means there was some demand for the text . The role of Lear was taken by the chief actor of ... edition of Shakespeare ) , it differed consider- ably from the text in the quartos , so it seems Shakespeare or his ...
... editions ) , which means there was some demand for the text . The role of Lear was taken by the chief actor of ... edition of Shakespeare ) , it differed consider- ably from the text in the quartos , so it seems Shakespeare or his ...
Página 29
... edition of Shake- speare's Plays ( 1765 ) ; Lamb , " On the Tragedies of Shakespeare " ( 1811 ) ; both reprinted in D. Nichol Smith , ed . Shakespeare Criticism : A Selection ( World's Classics , Oxford University Press , 1954 ) . 6 ...
... edition of Shake- speare's Plays ( 1765 ) ; Lamb , " On the Tragedies of Shakespeare " ( 1811 ) ; both reprinted in D. Nichol Smith , ed . Shakespeare Criticism : A Selection ( World's Classics , Oxford University Press , 1954 ) . 6 ...
Página 31
... editions of King Lear represent versions of Shakespeare's work . The particular circumstances of the production of individual playtexts may test the model of dramatic composition that is sketched here , but in general terms — without ...
... editions of King Lear represent versions of Shakespeare's work . The particular circumstances of the production of individual playtexts may test the model of dramatic composition that is sketched here , but in general terms — without ...
Página 33
... editions differ in such a way as to indicate different origins rather than the invariably contaminative processes of transmission . Fi- nally , the origin of the hypothesized copy for the printed edition must be determined . When two or ...
... editions differ in such a way as to indicate different origins rather than the invariably contaminative processes of transmission . Fi- nally , the origin of the hypothesized copy for the printed edition must be determined . When two or ...
Página 34
... editions were not distinguished until 1866 , which hindered recognition of Q2's relationship to the printing of the ... edition in some manner.7 Last , King Lear was printed in Shakespeare's posthumous col- lected dramatic works : Mr ...
... editions were not distinguished until 1866 , which hindered recognition of Q2's relationship to the printing of the ... edition in some manner.7 Last , King Lear was printed in Shakespeare's posthumous col- lected dramatic works : Mr ...
Contenido
31 | |
45 | |
57 | |
A Case for Conflation | 79 |
Textual Revision and the Fool in King Lear | 109 |
Some Remarks on King Lear | 123 |
Lears Blasted Heath | 135 |
King Lear Defamiliarized | 146 |
Eel Pie and Ugly Sisters in King Lear | 172 |
Some Recent Productions | 226 |
King Lear on Film | 247 |
Akira Kurosawas Ran | 267 |
Toward a Visual History | 278 |
Contributors | 297 |
Index | 299 |
Otras ediciones - Ver todas
Lear from Study to Stage: Essays in Criticism James Ogden,Arthur Hawley Scouten Vista de fragmentos - 1997 |
Términos y frases comunes
actors Adrian Noble Albany Albany's argued Armin audience authorial revision authority Brook's Cambridge camera character conflation Cordelia Cornwall critics daughters dead death director Division Dover dramatic Edgar edition editors Edmund essay eyes father feel feminist figure film Folio text Fool Fool's foul papers Gary Taylor Gloucester Gloucester's Goneril Goneril and Regan Hamlet heath Hidetora History of King Hytner's interpretation Kent King Lear kingdom Kozintsev Kurosawa Lear's lines London look Marxist Michael Warren mock trial Nicholas Hytner omissions opening scene Oxford painting patriarchal performance Peter Brook play's political printed production promptbook Q and F Quarto and Folio reading revisionists Robert Armin role Royal Shakespeare Company seems Shake Shakespeare Shakespeare's play Shakespeare's text sisters speak speare speare's speech stage direction storm suggest Tate Tate's Texts of King textual theater theatrical thou tion tragedy University Press Urkowitz visual women words
Pasajes populares
Página 27 - The weight of this sad time we must obey ; Speak what we feel, not what we ought to say. The oldest hath borne most : we, that are young, Shall never see so much, nor live so long.
Página 24 - I'll kneel down, And ask of thee forgiveness; so we'll live, // And pray, and sing, and tell old tales, and laugh At gilded butterflies, and hear poor rogues Talk of court news; and we'll talk with them too, Who loses and who wins; who's in, who's out; And take...
Página 49 - I remember the players have often mentioned it as an honour to Shakespeare, that in his writing (whatsoever he penned) he never blotted out a line. My answer hath been, "Would he ' had blotted a thousand," which they thought a malevolent speech.
Página 271 - Poor naked wretches, wheresoe'er you are, That bide the pelting of this pitiless storm, How shall your houseless heads and unfed sides, Your loop'd and window'd raggedness, defend you From seasons such as these ? O, I have ta'en Too little care of this ! Take physic, pomp ; Expose thyself to feel what wretches feel, That thou mayst shake the superflux to them, And show the heavens more just.
Página 117 - Lear. My wits begin to turn. Come on, my boy : how dost, my boy ? art cold ? I am cold myself. Where is this straw, my fellow? The art of our necessities is strange, That can make vile things precious.
Página 119 - Through tatter'd clothes small vices do appear ; Robes, and furr'd gowns, hide all. Plate sin with gold, And the strong lance of justice hurtless breaks : Arm it in rags, a pigmy's straw doth pierce it.
Página 131 - O pity! Sir, where is the patience now That you so oft have boasted to retain? EDGAR: (Aside) My tears begin to take his part so much, They mar my counterfeiting.
Página 93 - Lear. Then let them anatomize Regan ; see what breeds about her heart. Is there any cause in nature that makes these hard hearts?
Referencias a este libro
Inside the Royal Shakespeare Company: Creativity and the Institution Colin Chambers Sin vista previa disponible - 2004 |