Shakespeare in the Theatre: The National Theatre, 1963–1975: Olivier and Hall: Shakespeare in the Theatre
Autor Robert Shaughnessyen Limba Engleză Hardback – 16 mai 2018
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Specificații
ISBN-13: 9781474241045
ISBN-10: 1474241042
Pagini: 264
Ilustrații: 5 bw illus
Dimensiuni: 129 x 198 x 19 mm
Greutate: 0.38 kg
Editura: Bloomsbury Publishing
Colecția The Arden Shakespeare
Seria Shakespeare in the Theatre
Locul publicării:London, United Kingdom
ISBN-10: 1474241042
Pagini: 264
Ilustrații: 5 bw illus
Dimensiuni: 129 x 198 x 19 mm
Greutate: 0.38 kg
Editura: Bloomsbury Publishing
Colecția The Arden Shakespeare
Seria Shakespeare in the Theatre
Locul publicării:London, United Kingdom
Caracteristici
Looks at other key work related to the Shakespeare productions, such as Stoppard's Rosencrantz and Guildenstern are Dead
Notă biografică
Robert Shaughnessy is Professor of Theatre at the University of Kent, UK
Cuprins
Series PrefaceIntroduction1.The National Theatre at the Old Vic 1963-19752. Laurence Olivier3. 19674. European connections5. Peter HallNotesBibliographyIndex
Recenzii
Robert Shaughnessy's Shakespeare in the Theatre: The National Theatre, 1963-1975: Olivier and Hall makes a valuable contribution to Shakespearean performance history and provides a cornerstone to Bloomsbury's Shakespeare in the Theatre series.
Shows the actor shaping the legacy that so strongly shaped him.Highlights include unsparing accounts of Olivier's infamous productions of Othello in blackface and of The Merchant of Venice with a custom set of dentures that rearranged his celebrated face into a Semitic caricature. From such appalling expressions of minstrelsy-like love and theft, Shaughnessy does not permit the reader to look away. Yet the picture he paints, of a company cast in the shadow of the Royal Shakespeare Company and fighting to shake its superfluous reputation, is more pointillist tableau than knife-edged portrait. Taken as a whole, the book deftly captures Shakespeare's centrality to the National Theatre's sometimes canny, sometimes desultory handling of the period's political and aesthetic churn.
Shows the actor shaping the legacy that so strongly shaped him.Highlights include unsparing accounts of Olivier's infamous productions of Othello in blackface and of The Merchant of Venice with a custom set of dentures that rearranged his celebrated face into a Semitic caricature. From such appalling expressions of minstrelsy-like love and theft, Shaughnessy does not permit the reader to look away. Yet the picture he paints, of a company cast in the shadow of the Royal Shakespeare Company and fighting to shake its superfluous reputation, is more pointillist tableau than knife-edged portrait. Taken as a whole, the book deftly captures Shakespeare's centrality to the National Theatre's sometimes canny, sometimes desultory handling of the period's political and aesthetic churn.