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 10
... hear first from Boyet that they are ' disguised ' , a word repeated by the Quarto stage directions , ' Enter Black - moores with musicke , the Boy with a speach , and the rest of the Lordes disguysed . ' Katharine asks the seemingly ...
... hear first from Boyet that they are ' disguised ' , a word repeated by the Quarto stage directions , ' Enter Black - moores with musicke , the Boy with a speach , and the rest of the Lordes disguysed . ' Katharine asks the seemingly ...
Strana 58
... hear Berowne in a voice - over speaking the first six lines of the sonnet he sends to Rosaline ; meanwhile a crystal ... hears not only that Costard is there but also that Jaquenetta is present . So Moshinsky cuts both I.i and I.ii in ...
... hear Berowne in a voice - over speaking the first six lines of the sonnet he sends to Rosaline ; meanwhile a crystal ... hears not only that Costard is there but also that Jaquenetta is present . So Moshinsky cuts both I.i and I.ii in ...
Strana 72
... hear Armado say ' The words of Mercury are harsh after the songs of Apollo ' and then , in voice - over , ' You that way ; we this way . ' The singing continues during the credits , and at the end the two singers overlap , so that we hear ...
... hear Armado say ' The words of Mercury are harsh after the songs of Apollo ' and then , in voice - over , ' You that way ; we this way . ' The singing continues during the credits , and at the end the two singers overlap , so that we hear ...
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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