The Globe Theatre Project: Shakespeare and AuthenticityEdwin Mellen Press, 2006 - Всего страниц: 283 This book analyzes performances at the reconstructed Globe Theatre in London between 1996 and 2004 by focusing on the new Globe's most defining characteristic: authenticity. The book addresses the question of why authenticity has become so crucial in late 20th and early 21st century Britain and what productions of the authentic Shakespeare say about contemporary identities. |
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Стр. 165
... Macbeth into Zulu terms ' , although Robert Butler supposed that the ' free translation turns out to be about as close to Macbeth as Miss Saigon is to Madam Butterfly . " 67 Hallberg cites Welcome Msomi declaring in an interview that ...
... Macbeth into Zulu terms ' , although Robert Butler supposed that the ' free translation turns out to be about as close to Macbeth as Miss Saigon is to Madam Butterfly . " 67 Hallberg cites Welcome Msomi declaring in an interview that ...
Стр. 204
... Macbeth , the most anti- authentic and symbolic production , there came out of the oft - used bucket the golden threads of Duncan's blood as Macbeth himself describes them in 2.3.112 ; what was concrete in the text was represented ...
... Macbeth , the most anti- authentic and symbolic production , there came out of the oft - used bucket the golden threads of Duncan's blood as Macbeth himself describes them in 2.3.112 ; what was concrete in the text was represented ...
Стр. 214
... Macbeth's psychological decline began with the murder of Duncan as he reported the voice he heard to his wife . Again vocally daring , ' Sleep no more ' was uttered in a guttural , Gollum - like voice , and it seemed clear that Macbeth ...
... Macbeth's psychological decline began with the murder of Duncan as he reported the voice he heard to his wife . Again vocally daring , ' Sleep no more ' was uttered in a guttural , Gollum - like voice , and it seemed clear that Macbeth ...
Содержание
Two productions unalike authentically | 11 |
Disciplining the Fool for the Complete Performance | 26 |
Authentic Audiences | 40 |
Авторские права | |
Не показаны другие разделы: 20
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academic actors African Amintor Andrew Gurr anti-authenticity Antony and Cleopatra arguably argues audience authentic brief authentic productions authentic Shakespeare Bellafront Benedict Nightingale binary boom boom Caliban Cambridge carnival celebrated chapter character characterised colonial construction contemporary context critics cultural Cymbeline dance describes discourse Drama early modern Evadne experience explore female focused football further gender Globe production Globe Season Globe-to-Globe groundlings Gurr's Hippolyto Honest Whore hybridity identity ideological inauthentic interview Jaq Bessell Kathakali King Lear laughter London Loomba Macbeth Maid's Tragedy male Mark Rylance masculinity Matheo McLuskie Melantius Michael notion offered original practices perhaps political popular post-colonial Post-Colonial Studies Reader present production of Henry production's Prospero reconstruction representation represented Research Bulletin response reveal reviewers Richard role Romeu e Julieta Routledge scene sexuality Shakespeare Performances Shakespeare's Globe Shakespeare's plays Shakespeare's universalism Shylock space specific stage stereotype subjectivity suggests syncretism Tempest Tempestad textual Theatre Record theatrical tragedy Twelfth Night uMabatha writes
Ссылки на эту книгу
The Cambridge Companion to Shakespeare and Popular Culture Robert Shaughnessy Ограниченный просмотр - 2007 |