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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... later , Barrymore again joined forces with Hopkins and Jones to present Hamlet . The production opened on 16 November 1922 to near- unanimous critical acclaim : Barrymore's performance , Hopkins's direction , and Jones's mise - en ...
... later , Barrymore again joined forces with Hopkins and Jones to present Hamlet . The production opened on 16 November 1922 to near- unanimous critical acclaim : Barrymore's performance , Hopkins's direction , and Jones's mise - en ...
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... later , by James Quin . In many instances , however , change had arisen as the result of sudden , revolutionary upheavals in the style of playing . David Garrick's London debut as Richard III in 1741 in a new , more “ natural ” style ...
... later , by James Quin . In many instances , however , change had arisen as the result of sudden , revolutionary upheavals in the style of playing . David Garrick's London debut as Richard III in 1741 in a new , more “ natural ” style ...
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... later maintained ( innocently or not ) that he had no knowledge of Booth's " Hundred Nights " when his own Hamlet was nearing that mark ; yet he was surely aware of the shadow Booth's accomplishments cast upon American actors who ...
... later maintained ( innocently or not ) that he had no knowledge of Booth's " Hundred Nights " when his own Hamlet was nearing that mark ; yet he was surely aware of the shadow Booth's accomplishments cast upon American actors who ...
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... later assertion to his biographer , Gene Fowler , notwithstanding - but he did see him in a number of roles . He was doubtless impressed by Irv- ing's intensity and intelligence , and particularly by his " between the lines " byplay ...
... later assertion to his biographer , Gene Fowler , notwithstanding - but he did see him in a number of roles . He was doubtless impressed by Irv- ing's intensity and intelligence , and particularly by his " between the lines " byplay ...
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... later . They continued to appear until 1924 , when they bid their final farewell . During their two decades of Shakespearean activity , Sothern and Marlowe earned respect as competent interpreters of the traditional bravura reperto- ry ...
... later . They continued to appear until 1924 , when they bid their final farewell . During their two decades of Shakespearean activity , Sothern and Marlowe earned respect as competent interpreters of the traditional bravura reperto- ry ...
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 |