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. 201
... Original practices , on the other hand , necessarily make concrete those idealised abstractions of authenticity . Original practices are relative and selective in the face of the uncompromising and totalising demands of authenticity ...
... Original practices , on the other hand , necessarily make concrete those idealised abstractions of authenticity . Original practices are relative and selective in the face of the uncompromising and totalising demands of authenticity ...
Стр. 226
... original practices , the A - word consistently rears its seemingly redundant head . Various statements , both from within and without the new Globe , reveal the authenticity / original practices binary as messily entangled . For example ...
... original practices , the A - word consistently rears its seemingly redundant head . Various statements , both from within and without the new Globe , reveal the authenticity / original practices binary as messily entangled . For example ...
Стр. 231
... original practices productions represent more refined or tamed versions of their pre - 2001 counterparts is supported by the 2004 season . The first - ever entirely original practices season and in this a kind of mirror of the season of ...
... original practices productions represent more refined or tamed versions of their pre - 2001 counterparts is supported by the 2004 season . The first - ever entirely original practices season and in this a kind of mirror of the season of ...
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 |