As You Like itClarendon Press, 1993 - 245 Seiten As You Like It, Shakespeare's most lighthearted comedy and one of the best-loved and most performed of all his plays, was probably written in 1599 or 1600, though it was not printed until the First Folio of 1623. As its witty heroine is Shakespeare's longest female role, the play's performance history is marked by notable Rosalinds, from Hannah Pritchard and Margaret Woffington (giving rival performances in 1741), to Helen Faucit, Ada Rehan, Peggy Ashcroft, Katharine Hepburn, Vanessa Redgrave, Ronald Pickup (in an all-male production of 1967), Juliet Stevenson, and many others. In his introduction to this new edition Alan Brissenden suggests reasons for its delayed publication and discusses in detail how productions have changed radically over the years. Shakespeare's use of his sources, his handling of the themes of love, doubleness, and pastoral are also dealt with, as well as the significance of boys playing women's parts on the Elizabethan stage. Detailed annotations explain allusions, puns, and difficult passages, enabling student, reader, actor, and director to savour the humour and the seriousness of the play to the full. There are illustrations, and appendices on 'wit' and the songs, for which the earliest known music is printed. |
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Seite 52
... stage from Shakespeare one play more ' — claims which , as Knowles points out ( p . 635 ) , indicate the lack of a stage history for As You Like It . Love in a Forest itself had a very brief stage history , opening on 9 January 1723 and ...
... stage from Shakespeare one play more ' — claims which , as Knowles points out ( p . 635 ) , indicate the lack of a stage history for As You Like It . Love in a Forest itself had a very brief stage history , opening on 9 January 1723 and ...
Seite 124
... stage , to go in through the stage doors . This is an example of F2's tend- ency to ' make the language conform to the needs of written style rather than to the demands of oral delivery ' ( C. Alphonso Smith , in Englische Studien , 30 ...
... stage , to go in through the stage doors . This is an example of F2's tend- ency to ' make the language conform to the needs of written style rather than to the demands of oral delivery ' ( C. Alphonso Smith , in Englische Studien , 30 ...
Seite 197
... stage direction on the grounds that " Then sing him home ' is a refrain sung by all , the remain- der by a soloist . This arrangement may derive from Love in a Forest , in which " Then ... home ' is repeated twice at the end , with a stage ...
... stage direction on the grounds that " Then sing him home ' is a refrain sung by all , the remain- der by a soloist . This arrangement may derive from Love in a Forest , in which " Then ... home ' is repeated twice at the end , with a stage ...
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Abbott actor Adam Aliena Amiens Anna Volska audience Audrey banished bawdy Beau brother CAPELL character Charles clown comedy Compare Corin court dance deer disguise doth dress Duke Frederick Duke Senior earliest instance Edith Evans edition Elizabethan emendation Enter Rosalind Exeunt exiled Exit father Folio fool forest of Arden Ganymede Geneva Bible give hath heart Helen Faucit hither honour horns humour Ian Bannen Jaques Jaques's John Juliet Stevenson Lodge Lodge's Lord lover marriage marry meaning melancholy Old Vic Oliver's Orlando Ovid Oxford pastoral Peggy Ashcroft performance Phoebe play play's production Proverbial Dent Proverbial Tilley puns Rosader Rosalind Rosalind and Celia Saladyne scene sense cited sexual Shakespeare shepherd Silvius sing Sir Oliver Martext song speak speech stage Stratford suggests sweet Theatre thee THEOBALD thou art tion Touchstone Touchstone's tree Twelfth Night verse vols William woman women word wrestling ΙΟ