John Barrymore, Shakespearean ActorCambridge University Press, 1997 - Всего страниц: 398 John Barrymore's Richard III and Hamlet, first seen in New York during the 1919-20 and 1922-23 seasons, stand as high-water marks of twentieth-century Shakespearean interpretation. Michael Morrison reconstructs these historic performances through analysis of the production preparation, audience response, reviews, and memoirs. Tracing the Victorian and Edwardian antecedents of Shakespearean performance, this book situates Barrymore's distinctive contribution in light of past and ensuing tradition. As well, it provides a biographical sketch of one of the most revered and tragic actors of the twentieth century. "This young artist, profiting by the lessons of tradition...casts it boldly aside and emerges into the rarefied atmosphere of a new art, greater because it is new, stronger because it is built upon an old foundation." Brooklyn Times, March 9, 1920 |
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Стр. xii
... fact , the actors who performed these plays came to be known as " tragedi- ans " ; yet this grouping properly incorporates a history ( Richard III ) and a comedy ( The Merchant of Venice ) , both integral parts of a repertory in which a ...
... fact , the actors who performed these plays came to be known as " tragedi- ans " ; yet this grouping properly incorporates a history ( Richard III ) and a comedy ( The Merchant of Venice ) , both integral parts of a repertory in which a ...
Стр. 5
... fact much in evidence in the decade prior to the Armistice . The watershed 1909 Clark University Conference in Worcester , Massachusetts , attended by Sigmund Freud and a number of his European and American disciples , helped to ...
... fact much in evidence in the decade prior to the Armistice . The watershed 1909 Clark University Conference in Worcester , Massachusetts , attended by Sigmund Freud and a number of his European and American disciples , helped to ...
Стр. 7
... fact he saw him , and the younger generation of reviewers - the Woollcotts , Brouns , and Macgowans - would have had no firsthand knowl- edge of his virtuosity . Nonetheless , critics of a certain age - John Corbin , Burns Mantle , Alan ...
... fact he saw him , and the younger generation of reviewers - the Woollcotts , Brouns , and Macgowans - would have had no firsthand knowl- edge of his virtuosity . Nonetheless , critics of a certain age - John Corbin , Burns Mantle , Alan ...
Стр. 12
... fact identical . " An apprenticeship with the eminent Shakespearean actor - manager Samuel Phelps and extensive experi- ence in modern plays enabled Forbes - Robertson to combine the best attri- butes of the classic and naturalistic ...
... fact identical . " An apprenticeship with the eminent Shakespearean actor - manager Samuel Phelps and extensive experi- ence in modern plays enabled Forbes - Robertson to combine the best attri- butes of the classic and naturalistic ...
Стр. 20
... fact that the veteran team , upon their emergence from retirement , had " modernized " their productions . During the early years of their partnership , they had utilized the elaborate scenery of Victorian tra- dition ; yet when ...
... fact that the veteran team , upon their emergence from retirement , had " modernized " their productions . During the early years of their partnership , they had utilized the elaborate scenery of Victorian tra- dition ; yet when ...
Содержание
The Education of an Actor 18821919 | 32 |
The Productions | 67 |
Richard III 1920 | 69 |
Hamlet 19221924 | 122 |
The London Hamlet 1925 | 242 |
Aftermath | 261 |
Shakespeare in Hollywood 19251942 | 263 |
Epilogue | 299 |
Appendixes | 307 |
The Casts | 309 |
The Texts | 323 |
Notes | 331 |
385 | |
393 | |
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17 November acting actor Adams Alexander Woollcott American appeared April Arthur Hopkins artistic audience Barry Barrymore's Barrymore's performance Blanche Yurka Broadway cast chair character Clown comedy costumes critics debut decade December drama Edwin Booth exit Fay Compton February film Forbes-Robertson Fowler Gene Fowler Ghost Guildenstern Hamlet Hampden Henry Hollywood Hopkins's Horatio house curtain Irving January John Barrymore Jones's King Laertes left center letter to Michael lights Lincoln Center lines London lord Macbeth mainstage mance Marcellus March Margaret Carrington Michael Strange noted Ophelia Osric platform play Player Polonius production promptbook Queen radio rehearsals repertory replies revival Richard Richard III right center Robert Edmond Jones role Rosencrantz scene second season Shakespeare Shakespearean Sheldon soliloquy Soon afterward Sothern and Marlowe speak speech steps Studybook Sweet Prince Taylor tells Theatre Collection theatrical throne tion tour tradition turns UCB/SC upstage voice weeks William Woollcott wrote York
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Art, Glitter, and Glitz: Mainstream Playwrights and Popular Theatre in 1920s ... Arthur Gewirtz,James Kolb Просмотр фрагмента - 2004 |