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 9
... tion , directed by Terry Hands ) . The Elizabethan thrust stage al- most invites each of the Worthies to come forward : Costard / Pompey offers his armour to the Princess , Moth / Hercules gets so involved in strangling his snake ( s ) ...
... tion , directed by Terry Hands ) . The Elizabethan thrust stage al- most invites each of the Worthies to come forward : Costard / Pompey offers his armour to the Princess , Moth / Hercules gets so involved in strangling his snake ( s ) ...
Strana 48
... tion was to establish such eclecticism as a visual shorthand for differentiating character types , class status , or even moral values . Brook's comment about Dull , for instance , makes clear that he saw Dull as a ' type ' rather than ...
... tion was to establish such eclecticism as a visual shorthand for differentiating character types , class status , or even moral values . Brook's comment about Dull , for instance , makes clear that he saw Dull as a ' type ' rather than ...
Strana 61
... tion of Berowne gains power because of such small variations . His blue - grey costume is taken from a range of colours quite different from the three warmer shades of the other men ; he does not stand with Dumaine and Longaville ...
... tion of Berowne gains power because of such small variations . His blue - grey costume is taken from a range of colours quite different from the three warmer shades of the other men ; he does not stand with Dumaine and Longaville ...
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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