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. 13
... , swashbuckling adven- tures , and musicals , Shakespeare and the " old style " acting and production methods seemed stuffy and outmoded . At least one critic welcomed this change in the public Prologue : Legacies 13.
... , swashbuckling adven- tures , and musicals , Shakespeare and the " old style " acting and production methods seemed stuffy and outmoded . At least one critic welcomed this change in the public Prologue : Legacies 13.
Стр. 22
... seemed a quaint relic of an earlier day . His last Broadway appearance came during the 1918-19 season ; thereafter he kept to the provinces . During their early appearances , the Sothern - Marlowe team and Mantell benefited from an ...
... seemed a quaint relic of an earlier day . His last Broadway appearance came during the 1918-19 season ; thereafter he kept to the provinces . During their early appearances , the Sothern - Marlowe team and Mantell benefited from an ...
Стр. 24
... seemed incompatable with " the majesty of blank verse and the lavish outpouring of sheer word music ... pageantry and impassioned monologue " ( 12 March 1916 ) . Woollcott's commentary served to spotlight an enormous gap , increasing ...
... seemed incompatable with " the majesty of blank verse and the lavish outpouring of sheer word music ... pageantry and impassioned monologue " ( 12 March 1916 ) . Woollcott's commentary served to spotlight an enormous gap , increasing ...
Стр. 25
... seemed almost inevitable that the new movement , with its emphasis on artistic values , " serious " drama , and Continental innovations in stagecraft , would ultimately turn to Shakespeare . January 1918 saw the inau- guration of the ...
... seemed almost inevitable that the new movement , with its emphasis on artistic values , " serious " drama , and Continental innovations in stagecraft , would ultimately turn to Shakespeare . January 1918 saw the inau- guration of the ...
Стр. 27
... seemed destined to be the " new Forbes - Robertson " ( to whom he bore a slight physical resemblance ) , or even the " new Booth . " In one sense , the comparisons were apt , for like his Victori- an predecessors , Hampden presented ...
... seemed destined to be the " new Forbes - Robertson " ( to whom he bore a slight physical resemblance ) , or even the " new Booth . " In one sense , the comparisons were apt , for like his Victori- an predecessors , Hampden presented ...
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 Недоступно для просмотра - 2004 |
Art, Glitter, and Glitz: Mainstream Playwrights and Popular Theatre in 1920s ... Arthur Gewirtz,James Kolb Просмотр фрагмента - 2004 |