Love's Labour's LostManchester University Press, 1993 - Počet stran: 137 Though Love's Labour's Lost was performed throughout Shakespeare's active career, the play then disappeared from the British stage for almost two hundred years. Today, however, its popularity is high, both with theatre critics and audiences. In this study, Miriam Gilbert focuses primarily on six productions: on the Elizabethan stage, on the Victorian Stage, the Peter Brooke and John Barton productions at Stratford-upon-Avon, Michael Kahn's 1968 staging in America and the 1984 BBC television version. The relationships between the productions receive special attention. Over the years, productions have stressed the darker side of the play, as actors, directors and critics have found Love's Labour's Lost a more subtle and complex play than early commentators might suggest. |
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Strana 59
... Moshinsky uses television's ability ( which is also true of film ) to tell a story quickly by showing the viewer something which the stage production may either allude to or describe . Thus the scene of Berowne fills in a kind of ...
... Moshinsky uses television's ability ( which is also true of film ) to tell a story quickly by showing the viewer something which the stage production may either allude to or describe . Thus the scene of Berowne fills in a kind of ...
Strana 69
... Moshinsky's sense of ' mis- match ' for the two central couples . He argues that the play is a kind of situation comedy using ' love ' to explore comedy and reality and what real feelings are . The central concern is the discovery of ...
... Moshinsky's sense of ' mis- match ' for the two central couples . He argues that the play is a kind of situation comedy using ' love ' to explore comedy and reality and what real feelings are . The central concern is the discovery of ...
Strana 75
... Moshinsky eliminates much of the physical comedy Costard often creates , especially in the build - up to the fight with Armado . Instead of physical action , there is camera action , with quick cuts implying the court's sense of ...
... Moshinsky eliminates much of the physical comedy Costard often creates , especially in the build - up to the fight with Armado . Instead of physical action , there is camera action , with quick cuts implying the court's sense of ...
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