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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Página vii
... , 1925 Part Three : Aftermath 5 Shakespeare in Hollywood , 1925-1942 261 Epilogue 297 Appendixes A The Casts B The Texts Notes Selected Bibliography Index 307 321 329 383 389 Illustrations 1. Edwin Booth as Hamlet 2. Henry Irving as vii.
... , 1925 Part Three : Aftermath 5 Shakespeare in Hollywood , 1925-1942 261 Epilogue 297 Appendixes A The Casts B The Texts Notes Selected Bibliography Index 307 321 329 383 389 Illustrations 1. Edwin Booth as Hamlet 2. Henry Irving as vii.
Página 3
... casts it boldly aside and emerges into the rarified atmosphere of a new art , greater be- cause it is new , stronger because it is built upon an old foundation . - Brooklyn Times ( 9 March 1920 ) ON and spectators eager we N 6 MARCH ...
... casts it boldly aside and emerges into the rarified atmosphere of a new art , greater be- cause it is new , stronger because it is built upon an old foundation . - Brooklyn Times ( 9 March 1920 ) ON and spectators eager we N 6 MARCH ...
Página 5
... cast off the traditions of their predecessors , reject- ing what they considered to be a genteel , simplistic view of the human condi- tion and its characteristic credos and art forms.2 Though the conclusion of the Great War is ...
... cast off the traditions of their predecessors , reject- ing what they considered to be a genteel , simplistic view of the human condi- tion and its characteristic credos and art forms.2 Though the conclusion of the Great War is ...
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... cast upon American actors who attempted his celebrated roles . Of more direct impact on Barrymore and his audience were the perfor- mances of Henry Irving , who opened his first London Hamlet at the Lyceum in October 1874 to ...
... cast upon American actors who attempted his celebrated roles . Of more direct impact on Barrymore and his audience were the perfor- mances of Henry Irving , who opened his first London Hamlet at the Lyceum in October 1874 to ...
Página 29
... cast off the vestiges of Victorian culture to em- brace new trends in art , music , dance , poetry , fiction , and drama and accept them into the mainstream . The moment was right for the imaginative appli- cation of new European ...
... cast off the vestiges of Victorian culture to em- brace new trends in art , music , dance , poetry , fiction , and drama and accept them into the mainstream . The moment was right for the imaginative appli- cation of new European ...
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 |