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 13
... called supper ' ( I.ii. 231-3 ) . Armado's ' high words ' when writing to the king continue in his polysyllabic conversation with his young servant Moth : ' I spoke it , tender juvenal , as a congruent epitheton apper- taining to thy ...
... called supper ' ( I.ii. 231-3 ) . Armado's ' high words ' when writing to the king continue in his polysyllabic conversation with his young servant Moth : ' I spoke it , tender juvenal , as a congruent epitheton apper- taining to thy ...
Strana 78
... called Rishikesh , in India , to commune with one Maharishi Mahesh Yogi . The gentleman comes from India , and the reigning chic stipulates that Mysterious India is where one goes to Have a Spiritual Experience . ( Buckley , p . 23 ) ...
... called Rishikesh , in India , to commune with one Maharishi Mahesh Yogi . The gentleman comes from India , and the reigning chic stipulates that Mysterious India is where one goes to Have a Spiritual Experience . ( Buckley , p . 23 ) ...
Strana 117
... called the ' subtext ' was one of the great achieve- ments of Barton's 1978 production and prompts some speculation about production choices for Love's Labour's Lost since 1978 , and production choices in the future . In the same year ...
... called the ' subtext ' was one of the great achieve- ments of Barton's 1978 production and prompts some speculation about production choices for Love's Labour's Lost since 1978 , and production choices in the future . In the same year ...
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1965 production actors appear Armado Armado's letter audience Barton Barton's 1978 production Beatles Berowne Berowne and Rosaline Berowne's Biron Boyet Brook's production Carmen Du Sautoy century characters comedy comic Costard costumes court courtiers created curtain David directors downstage dressed Dull Dumaine and Longaville elegant emphasised feelings final scene Guthrie Holofernes I.ii II.i III.i implies IV.i IV.iii Jaquenetta John Barton's Kahn Kahn's Katharine King King's ladies language lines look Love's Labour's Lost Madame Vestris Marcade Marcade's entrance Maria Maureen Lipman Michael Moshinsky Moshinsky's Moth move Muscovites Navarre Nine Worthies oath offstage overhearing scene Pageant paintings performance perhaps Peter Brook Phelps Phelps's platform play's Pompey praise Princess prompt book Ralph Koltai reading reveal Rosaline Rosaline's Royal Shakespeare Theatre Sadler's Samuel Phelps seems sense Shakespeare's plays Sir Nathaniel speech stage Stratford Stratford-upon-Avon suggests television theatre tion tone upstage V.ii visual Watteau witty women words young