The TempestCambridge University Press, 17.08.2000 - 373 Seiten This edition of The Tempest is the first dedicated to its stage history. Dymkowski examines four centuries of mainstream, regional, and fringe productions in Britain, nineteenth- and twentieth-century American stagings, and recent Australian, Canadian, French, Italian, and Japanese productions. She analyses the cultural significance of changes in theatrical representation, eg. when and why Caliban began to be represented by a black actor, and Ariel became a man's role rather than a woman's. The commentary annotates each line of the play with details about acting, setting, textual alteration and contemporary reception. |
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Seite 3
... play's theatrical representation : for example , when and why Caliban began to be represented by a black actor , and Ariel became a man's role rather than a woman's . The commentary annotates each line of the play with details about ...
... play's theatrical representation : for example , when and why Caliban began to be represented by a black actor , and Ariel became a man's role rather than a woman's . The commentary annotates each line of the play with details about ...
Seite 11
... play upon the stage . And just as we now agree that no play is complete until it is produced , so we have become interested in the way in which plays often produced and preeminently the plays of the national Bard , William Shakespeare ...
... play upon the stage . And just as we now agree that no play is complete until it is produced , so we have become interested in the way in which plays often produced and preeminently the plays of the national Bard , William Shakespeare ...
Seite x
... play to life . Why ? Without setting out to give absolute answers , the history of a play in the theatre can often show where the energy and shape of it lie , what has made it tick , through many permutations . In this way theatre ...
... play to life . Why ? Without setting out to give absolute answers , the history of a play in the theatre can often show where the energy and shape of it lie , what has made it tick , through many permutations . In this way theatre ...
Seite xi
... who has lived with this project as long as I have and who , besides translating French and German reviews , has done so much to help me complete it . EDITOR'S NOTE The play - text printed here uses the xi Acknowledgements.
... who has lived with this project as long as I have and who , besides translating French and German reviews , has done so much to help me complete it . EDITOR'S NOTE The play - text printed here uses the xi Acknowledgements.
Seite xii
... play is discussed in the present historical tense , and pro- ductions of it in the past tense . Ariel , who has been played by both female and male actors throughout the play's production history , is referred to as ' she ' when played ...
... play is discussed in the present historical tense , and pro- ductions of it in the past tense . Ariel , who has been played by both female and male actors throughout the play's production history , is referred to as ' she ' when played ...
Inhalt
Introduction | xxxii |
List of characters | 94 |
The Tempest and commentary | 95 |
selected textual variations | 336 |
list of principal players | 343 |
Bibliography | 349 |
360 | |
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Häufige Begriffe und Wortgruppen
actors Adrian Alonso Antonio appeared archive video Ariel Ashwell audience Ayrton Benedict Nightingale Benthall Benthall's Billington Birmingham Repertory Theatre Boatswain Bogdanov's Bridges-Adams Brook's Caliban Ceres changed costume courtiers Coveney Cut by Garrick Daly cut Daniels's Prospero directors Donnellan's dressed Dryden/Davenant and Shadwell entered exited Ferdinand Gielgud Gonzalo Hack cut Hall's hand Hippolito Hytner's Hytner's Prospero Iden Payne interpolated island Jacobean John Juno Kean Kean cut Kean's Kemble lines London looked lords Macready Macready's magic mariners masque Mendes's Michael Michael Billington Miller's Miranda Miranda and Ferdinand monster nymphs off-stage Old Vic performance Phelps Phelps's play production promptbook Prospero Prospero spoke Purcarete's respectively reviewer Salisbury Playhouse sang scene Sebastian ship singing song speech spirits stage Stephano Stephano and Trinculo storm Stratford Stratford pb Stratford-upon-Avon Strehler's Sycorax Tempest Tempest at Salisbury Thacker's theatrical thee thou thunder Tree's Trewin Trinculo versions Wardle Williams Williams's