Antony and Cleopatra
Cambridge University Press, 24 sept 1998 - 358 páginas
Antony and Cleopatra has the strangest stage history of any of Shakespeare's major tragedies. Richard Madelaine explains how the play's challenging complexity has at different times inhibited or promoted its success on the stage, and accounts for the remarkable resurgence of performances in the last twenty years. Madelaine provides the only detailed, extensive and up-to-date history of the play on stage and screen, in and beyond Britain. His introduction and commentary examine the ways in which cultural factors have shaped the performance of the play, and how actors have tackled the main parts, in particular the exotic eroticism of Cleopatra. In the process he reveals not only the rich plurality of possible readings of the play, but also changing attitudes to Shakespeare.
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acting actors actresses AGRIPPA Antony and Cleopatra Antony's appearance April audience August Brook's Caesar called Calvert's changes characters Charmian Chronicles costumes critics Daily death December dress edition effect Egypt Egyptian Elizabethan English ENOBARBUS Enter Eros Exeunt Exit eyes galley Garrick's give given Guardian hand hear heart Iras Jacobean John July June kiss later Lepidus less lighting lines London look lord lovers madam March MENAS messenger Michael Billington monument moving nature never noble November Nunn-Scoffield television version Observer Octavia October opening passion performance Peter Phelps's production play political Pompey Post printed promptbook queen reviewers role Roman Rome scene seems sexual Shakespeare SOLDIER speak speech stage Stratford style suggests Telegraph Theatre theatrical thee thou thought Trewin turn whilst women wrote
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