John Barrymore, Shakespearean ActorCambridge University Press, 1997 - 398 páginas John Barrymore's Richard III and Hamlet, first seen in New York during the 1919-20 and 1922-23 seasons, stand as high-water marks of twentieth-century Shakespearean interpretation. Michael Morrison reconstructs these historic performances through analysis of the production preparation, audience response, reviews, and memoirs. Tracing the Victorian and Edwardian antecedents of Shakespearean performance, this book situates Barrymore's distinctive contribution in light of past and ensuing tradition. As well, it provides a biographical sketch of one of the most revered and tragic actors of the twentieth century. "This young artist, profiting by the lessons of tradition...casts it boldly aside and emerges into the rarefied atmosphere of a new art, greater because it is new, stronger because it is built upon an old foundation." Brooklyn Times, March 9, 1920 |
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... Broadway and the West End , but their most significant contribution - often overlooked by biographers and historians - was to introduce innovative methods of act- ing , direction , and design that radically transformed the style and ...
... Broadway and the West End , but their most significant contribution - often overlooked by biographers and historians - was to introduce innovative methods of act- ing , direction , and design that radically transformed the style and ...
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... Broadway its first glimpse of Gordon Craig's New Stagecraft . All of these events and many more helped to foster a rich period of cultural foment that burst upon the American scene , creating a climate in which new methods of ...
... Broadway its first glimpse of Gordon Craig's New Stagecraft . All of these events and many more helped to foster a rich period of cultural foment that burst upon the American scene , creating a climate in which new methods of ...
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... Broadway - this same period witnessed significant changes in the theatre and in American society in general . By the early 1920s , Shakespeare , ever the “ form and pressure " of changing manners and aes- thetic values , was ripe for ...
... Broadway - this same period witnessed significant changes in the theatre and in American society in general . By the early 1920s , Shakespeare , ever the “ form and pressure " of changing manners and aes- thetic values , was ripe for ...
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... Broadway and the heartland . The realization that American audiences would no longer enthusiastically patronize Shakespeare as they had in the past was not confined to the new breed of manager . Henry Irving and Richard Mansfield ...
... Broadway and the heartland . The realization that American audiences would no longer enthusiastically patronize Shakespeare as they had in the past was not confined to the new breed of manager . Henry Irving and Richard Mansfield ...
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... Broadway public failed to respond ; the play drew " pitifully small " audiences of only a few hundred spectators . 18 Having learned a hard lesson in commercial reality , Forbes - Robertson returned to New York three times during the ...
... Broadway public failed to respond ; the play drew " pitifully small " audiences of only a few hundred spectators . 18 Having learned a hard lesson in commercial reality , Forbes - Robertson returned to New York three times during the ...
Índice
The Education of an Actor 18821919 | 32 |
The Productions | 67 |
Richard III 1920 | 69 |
Hamlet 19221924 | 122 |
The London Hamlet 1925 | 242 |
Aftermath | 261 |
Shakespeare in Hollywood 19251942 | 263 |
Epilogue | 299 |
Appendixes | 307 |
The Casts | 309 |
The Texts | 323 |
Notes | 331 |
385 | |
393 | |
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Palavras e frases frequentes
17 November acting actor Adams Alexander Woollcott American appeared April Arthur Hopkins artistic audience Barry Barrymore's Barrymore's performance Blanche Yurka Broadway cast chair character Clown comedy costumes critics debut decade December drama Edwin Booth exit Fay Compton February film Forbes-Robertson Fowler Gene Fowler Ghost Guildenstern Hamlet Hampden Henry Hollywood Hopkins's Horatio house curtain Irving January John Barrymore Jones's King Laertes left center letter to Michael lights Lincoln Center lines London lord Macbeth mainstage mance Marcellus March Margaret Carrington Michael Strange noted Ophelia Osric platform play Player Polonius production promptbook Queen radio rehearsals repertory replies revival Richard Richard III right center Robert Edmond Jones role Rosencrantz scene second season Shakespeare Shakespearean Sheldon soliloquy Soon afterward Sothern and Marlowe speak speech steps Studybook Sweet Prince Taylor tells Theatre Collection theatrical throne tion tour tradition turns UCB/SC upstage voice weeks William Woollcott wrote York
Referências a este livro
Art, Glitter, and Glitz: Mainstream Playwrights and Popular Theatre in 1920s ... Arthur Gewirtz,James Kolb Pré-visualização indisponível - 2004 |
Art, Glitter, and Glitz: Mainstream Playwrights and Popular Theatre in 1920s ... Arthur Gewirtz,James Kolb Visualização de excertos - 2004 |