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 24
... final scene - and its re - placement changes its meaning almost completely . The adaptor begins the final scene with Shakespeare's V.ii. 771 ( ' We have received your letters full of love ' ) , the men's proposals , and the women's ...
... final scene - and its re - placement changes its meaning almost completely . The adaptor begins the final scene with Shakespeare's V.ii. 771 ( ' We have received your letters full of love ' ) , the men's proposals , and the women's ...
Strana 28
... final stage direction indicates that these processions turned into a kind of curtain call with music : ' All down to the first 8 bars and seperate [ sic ] right and left , go up and range at back . Pages in front leaving the Worthies in ...
... final stage direction indicates that these processions turned into a kind of curtain call with music : ' All down to the first 8 bars and seperate [ sic ] right and left , go up and range at back . Pages in front leaving the Worthies in ...
Strana 123
... final scene , since if the rustics are only silly , then the nobles ' comments on the Pageant seem appropriate . But when the audience perceives not just the affectations of Armado and Holofernes , but also their sincere goodwill and ...
... final scene , since if the rustics are only silly , then the nobles ' comments on the Pageant seem appropriate . But when the audience perceives not just the affectations of Armado and Holofernes , but also their sincere goodwill and ...
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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