Mary Stuart
Autor Friedrich Schilleren Limba Engleză Paperback – 6 oct 2018
Descriptions furnished by the Hayden Costume Co., 243 Tremont St., Boston, Mass., to whom all interested persons are referred for further details.
Queen Elizabeth. Act 1. - Grey velvet gown, open front, over underskirt of same color; waist high cut with puff sleeves to elbow and tight-fitting to wrist; ruff for neck; head-dress of pearls. Act 2. - Black and gold brocade open front gown, over white brocade underskirt; waist cut to a point; ruff for neck. Red velvet robe, very long, lined with ermine; brilliant coronet with small crown in centre. Act 3. - Dark green velvet gown, full sleeves slashed with light green satin; underskirt of yellow brocade, and head-dress of green velvet trimmed with pearls. Act 4. - Yellow and white brocade gown, with slashed sleeves, and hanging sleeves of yellow; white satin front jewelled with stones and pearls; high ruching collar and coronet.
Mary Stuart. Act 1. - Red velvet gown, with full sleeves slashed with white satin; yellow brocade front. Jewelled necklace, tiara of brilliants, and ruff for neck. Act 3. - Wine colored velvet gown, high neck, with full sleeves slashed with old gold satin; underskirt of old gold; and close fitting head-dress of wine colored velvet, trimmed with pearls. Act 5. - Royal blue velvet gown over yellow satin and embroidered front; sleeves slashed with yellow satin. Blue velvet robe with train trimmed with ermine; jewelled belt and cestus; small crown.
Hannah Kennedy. Act 1. - Brown cashmere dress, full sleeves to elbow and tight fitting to wrist; linen collar and cuffs with lace edge. Act 3. - Wine colored cloth dress, pointed waist; skirt draped over black underskirt; sleeves puffed with white at shoulder; close fitting black velvet cap. Act 5. - Black cashmere dress, very full skirt; puffed sleeves and high neck; ruching collar, and linen cuffs with lace edge.
Margaret Curl. Act 5. - Black velvet gown, low neck and pointed waist, with full sleeves slashed with purple satin; underskirt of purple satin; ruff for neck; pearl ornaments.
Robert Dudley, Earl of Leicester. Act 2. - Dark blue velvet doublet, embroidered with gold; light blue satin sleeves, puffed at shoulders; short puffed trunks of dark blue velvet, with light blue satin puffs; short shoulder cloak; conical shape hat and plume; tights, shoes and rosettes, ruff for neck. Act 3. - Leather jerkin, with green velvet puffed sleeves; full trunks, tights, high russet boots, shoulder cloak, hat and plume, sword and belt. Act 4. - Wine colored velvet doublet trimmed with gilt lace, and old gold satin puffs in sleeves; cloak, and short puffed trunks of same; tights, shoes and rosettes; jewelled collar. Act 5. - Black velvet doublet trimmed with jet, and black satin puffs. Cloak and short puffed trunks of same; tights, shoes and rosettes.
George Talbot, Earl of Shrewsbury. Act 2. - Yellow brocade doublet with white satin puffs, and trimmed with gold. Cloak, and short puffed trunks of same. Tights, shoes, rosettes and ruff.
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Specificații
ISBN-13: 9780341729624
ISBN-10: 0341729620
Pagini: 272
Dimensiuni: 151 x 232 x 15 mm
Greutate: 0.64 kg
Editura: FRANKLIN CLASSICS
ISBN-10: 0341729620
Pagini: 272
Dimensiuni: 151 x 232 x 15 mm
Greutate: 0.64 kg
Editura: FRANKLIN CLASSICS
Notă biografică
Peter Oswald was born in England in 1965. His original plays include the verse plays 'Allbright' and 'Valadonama', and 'Fair Ladies At A Game Of Poem Cards', 'Augustine's Oak', 'Ramayana', and 'Sha Kuntala'. He has also adapted plays by Sophocles and Lorca. Johann Christoph Friedrich von Schiller (1759-1805) ranks as one of the greatest figures in European drama and literature. That Verdi based four of his operas on Schiller's plays is not surprising (I masnadieri, Giovanna d'Arco, Luisa Miller, Don Carlos). Both men were deeply preoccupied with the battle for political freedon, projecting the moral victory of the doomed individual over the power of the immutable State as potent historical drama. Schiller's nobility of theatrical concept perfectly suited the energy and majesty of Verdi's scores. Yet in the English-speaking world Schiller's works are comparatively little known to theatregoers. The dedication of the renowned Glasgow-based Citizens' Company and the inspired decision to present the plays alongside Verdi's operas at the Edinburgh International Festival have gone a long way to remedy this neglect. The fifth play included in this edition was the source fro the opera by Donizetti (Maria Stuarda). Also translated for the Citizens' Company by Robert David MacDonald, Schiller's 'Mary Stuart' is acknowledged masterpiece.
Descriere
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A story that recounts Mary, Queen of Scots' remaining days held captive in Fotheringay Castle. In scenes alternating between Mary's prison and Elizabeth's court at Westminster, it builds a picture of a tragic heroine rising above her suffering to gain in insight and spiritual depth.
A story that recounts Mary, Queen of Scots' remaining days held captive in Fotheringay Castle. In scenes alternating between Mary's prison and Elizabeth's court at Westminster, it builds a picture of a tragic heroine rising above her suffering to gain in insight and spiritual depth.
Caracteristici
Mike Poulton's highly acclaimed version of Schiller's Don Carlos was first staged in Sheffield in 2004 and then became a hit on the West End.
Recenzii
'If Shakespeare's historical dramas hold a mirror to our national virtues, Schiller presents a reflection that is rather less flattering.'
'In Mike Poulton's vibrant new version, England emerges as a paranoid state on high-security alert, where the detention of suspects does not bear very close scrutiny.'
'A lean new version by Mike Poulton, sets bare-knuckle rhetoric racing across the stage... It's brilliantly undiplomatic, a disastrous triumph.'
'A new version, by Mike Poulton, of Friedrich Schiller's 200-year-old masterpiece Mary Stuart...offers a rich dish to tempt audiences; spiced with sex, studded with intrigue and larded with betrayal... It's a mark of a good play that, although we know the tragic ending, the action still makes us hope it may be different this time.'
'In Mike Poulton's vibrant new version, England emerges as a paranoid state on high-security alert, where the detention of suspects does not bear very close scrutiny.'
'A lean new version by Mike Poulton, sets bare-knuckle rhetoric racing across the stage... It's brilliantly undiplomatic, a disastrous triumph.'
'A new version, by Mike Poulton, of Friedrich Schiller's 200-year-old masterpiece Mary Stuart...offers a rich dish to tempt audiences; spiced with sex, studded with intrigue and larded with betrayal... It's a mark of a good play that, although we know the tragic ending, the action still makes us hope it may be different this time.'