Shakespeare and the Modern Stage; with Other EssaysDigiCat, 16. 9. 2022 - Počet stran: 183 In 'Shakespeare and the Modern Stage; with Other Essays,' Sidney Sir Lee articulates a persuasive examination of the Bard's enduring influence on contemporary theatre. The text delves into the transformation of Shakespeare's work over the centuries and how it resonates with audiences and artists alike in the modern era. Lee's prose is erudite and engaging, blending historical analysis with literary criticism. By situating Shakespeare within the broader context of evolving performance conventions and audience expectations, Lee crafts a study that is at once a scholarly contemplation and a lively discourse on the dialogue between past and present theatrical mores. Sir Lee's own scholarly background significantly informs his writing; his expertise as a Shakespearean academic is evident throughout the essays. His insights are informed not only by a deep-seated understanding of Elizabethan drama but also by an astute awareness of the cultural and societal shifts that influence theatrical interpretation. Lee's oeuvre reflects comprehensive research and an impassioned engagement with Shakespeare's texts, making clear why they remain pivotal to the study of literature and drama. 'To both the seasoned Shakespearean scholar and the enthusiastic newcomer, Sidney Sir Lee's work offers a resplendent exploration of the timeless allure and adaptability of Shakespeare's oeuvre. Readers seeking a nuanced perspective on how classic works are perpetually reinvented will find Lee's collection of essays an invaluable resource. This edition, careful in its republication to honor the integrity of Lee's original vision, invites one to a deeper appreciation of the complexities inherent in staging the works of the Bard in the ever-evolving landscape of modern theatre. |
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Strana
... fact, deemed by the manager to be inadequate to satisfy the necessary commercial purposes of the theatre. The average purveyor of public entertainment reckons Shakespeare's plays among tasteless and colourless commodities, which only ...
... fact, deemed by the manager to be inadequate to satisfy the necessary commercial purposes of the theatre. The average purveyor of public entertainment reckons Shakespeare's plays among tasteless and colourless commodities, which only ...
Strana
... fact to be accounted for? Is it possible that it is attributable to some decay in us of the imagination—to a growing slowness on our part to appreciate works of imagination? When one reflects on the simple mechanical contrivances which ...
... fact to be accounted for? Is it possible that it is attributable to some decay in us of the imagination—to a growing slowness on our part to appreciate works of imagination? When one reflects on the simple mechanical contrivances which ...
Strana
... fact seems convincing testimony, not to the ability of Elizabethan or Jacobean boys—the nature of boys is a pretty permanent factor in human society—but to the superior imaginative faculty of adult Elizabethan or Jacobean playgoers, in ...
... fact seems convincing testimony, not to the ability of Elizabethan or Jacobean boys—the nature of boys is a pretty permanent factor in human society—but to the superior imaginative faculty of adult Elizabethan or Jacobean playgoers, in ...
Strana
... , and with but a single modification of the phraseology:— Remember thee! Ay, thou great soul, while memory holds a seat In this distracted globe. III. Table of Contents There is a certain justification, in fact, for the fancy.
... , and with but a single modification of the phraseology:— Remember thee! Ay, thou great soul, while memory holds a seat In this distracted globe. III. Table of Contents There is a certain justification, in fact, for the fancy.
Strana
Sidney Sir Lee. There is a certain justification, in fact, for the fancy that the plaudites were loud and long, when Shakespeare created the rôle of the "poor ghost" in the first production of his play of Hamlet in 1602. There is no ...
Sidney Sir Lee. There is a certain justification, in fact, for the fancy that the plaudites were loud and long, when Shakespeare created the rôle of the "poor ghost" in the first production of his play of Hamlet in 1602. There is no ...
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acting actor actor-manager actor-manager system admiration artistic audience Ben Jonson Benson's Betterton biography character Charles classical comedy contemporary Contents I Table countrymen critical D'Avenant D'Avenant's diary dramatic art dramatist Drury Lane Dryden Ducis Elizabethan Elizabethan playgoer endeavour England English experience France French Fuller genius gossip Hamlet Henry honour human imagination John Jonson Julius Cæsar King less lips literary drama literature lived London Lowin Macbeth memory methods Midsummer Night's Dream monument moral municipal theatre nation natural never Nicholas Rowe oral tradition Othello patriotic instinct Pepys saw Pepys's performance philosophy piece playgoing playhouse poet poet's poetic poetry present production realise rendering reputation Richard II rôle scenery scenic sentiment seventeenth century Shakespeare died Shakespeare's career Shakespeare's death Shakespeare's plays Shakespearean drama speech stage Stratford Stratford-on-Avon Table of Contents Tempest theatrical enterprise thou tragedy Twelfth Night William Beeston William Shakespeare writing wrote