Cambridge University Press, 17/08/2000 - 373 من الصفحات
This edition of The Tempest is the first dedicated to its stage history. Dymkowski examines four centuries of mainstream, regional, and fringe productions in Britain, nineteenth- and twentieth-century American stagings, and recent Australian, Canadian, French, Italian, and Japanese productions. She analyses the cultural significance of changes in theatrical representation, eg. when and why Caliban began to be represented by a black actor, and Ariel became a man's role rather than a woman's. The commentary annotates each line of the play with details about acting, setting, textual alteration and contemporary reception.
ما يقوله الناس - كتابة مراجعة
لم نعثر على أي مراجعات في الأماكن المعتادة.
طبعات أخرى - عرض جميع المقتطفات
action actors Alonso Antonio appeared approach Ariel audience Benthall Benthall's Billington Bridges-Adams Brook's Burton Caliban called carried changed character clear Company continued costume courtiers critic Daly dance Daniels's directors dressed Dryden/Davenant effect entered example exited face Ferdinand final followed Garrick gave give Gonzalo Hack Hall's hand head human Hytner's Iden interpolated interpretation island John Kean Kemble king latter light lines London looked lords Macready magic mariners master Mendes's Michael Miller's Miranda monster moved opening performance Phelps play present production Prospero Purcarete's remained respectively Restoration reviewer scene Sebastian seemed Shadwell Shakespeare's shapes ship showed Similarly singing sometimes song sound speak speech spirits spoke stage Stephano storm Stratford suggests Tempest Theatre theatrical thee thou thought took Tree Tree's Trinculo turned versions voice Young