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 53
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... theatrical tradition from Shakespeare's time to the nineteenth cen- tury . The history of literary criticism to Bradley and beyond is sketched in the in- ( Continued on back flap ) H H Lear from Study to Stage Lear from Study Lear from ...
... theatrical tradition from Shakespeare's time to the nineteenth cen- tury . The history of literary criticism to Bradley and beyond is sketched in the in- ( Continued on back flap ) H H Lear from Study to Stage Lear from Study Lear from ...
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... theatrical tradition from Shakespeare's time to the nineteenth century by the late William Ringler , Jr. , and myself . We meant to have an essay on the critical history of the play , but unfortunately the contributor had to withdraw ...
... theatrical tradition from Shakespeare's time to the nineteenth century by the late William Ringler , Jr. , and myself . We meant to have an essay on the critical history of the play , but unfortunately the contributor had to withdraw ...
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... and John Kemble , whether they liked it or not , had to use Tate's ending and play Lear for pathos rather than tragedy . Tate's final triumph was Edmund Kean's production at Drury Lane in 1820 , when theatrical 16 JAMES OGDEN.
... and John Kemble , whether they liked it or not , had to use Tate's ending and play Lear for pathos rather than tragedy . Tate's final triumph was Edmund Kean's production at Drury Lane in 1820 , when theatrical 16 JAMES OGDEN.
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... theatrical specta- cle rendered the storm scene ridiculous . Kean restored the tragic ending in 1823 , and claimed that in so doing he had been influ- enced by " men of literary eminence from the time of Addison " ; but he was again ...
... theatrical specta- cle rendered the storm scene ridiculous . Kean restored the tragic ending in 1823 , and claimed that in so doing he had been influ- enced by " men of literary eminence from the time of Addison " ; but he was again ...
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... theatrical history of King Lear shows . The better interpreta- tions or productions will be those that seem most adequate to the play as a whole , enhance our sense of its value , and do not claim to be " definitive . " Finally , they ...
... theatrical history of King Lear shows . The better interpreta- tions or productions will be those that seem most adequate to the play as a whole , enhance our sense of its value , and do not claim to be " definitive . " Finally , they ...
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 |