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 |
Dentro del libro
Resultados 1-5 de 89
Página x
... light of modern psychological theory . In New York and London , he was greeted as a tragedian of the first rank . His dynamic portrayals and the ground - breaking innovations of his production team , the director Arthur Hopkins and the ...
... light of modern psychological theory . In New York and London , he was greeted as a tragedian of the first rank . His dynamic portrayals and the ground - breaking innovations of his production team , the director Arthur Hopkins and the ...
Página xi
... light of the bravura acting of Edwin Booth and Henry Irving , the festive glamour of Augustin Daly's productions , the scenog- raphy of Herbert Tree , the neo - Victorian performances of E. H. Sothern and Robert B. Mantell , and the ...
... light of the bravura acting of Edwin Booth and Henry Irving , the festive glamour of Augustin Daly's productions , the scenog- raphy of Herbert Tree , the neo - Victorian performances of E. H. Sothern and Robert B. Mantell , and the ...
Página 3
... light comedy . His limita- tions – particularly his restricted vocal range – were widely known . Many in the audience , too , could recall the bravura Shakespearean performances of Edwin Booth , Sir Henry Irving , and Richard Mansfield ...
... light comedy . His limita- tions – particularly his restricted vocal range – were widely known . Many in the audience , too , could recall the bravura Shakespearean performances of Edwin Booth , Sir Henry Irving , and Richard Mansfield ...
Página 6
... light of shifting conceptions of “ nature " and " art . " At times , these changes had taken place gradually ; for example , the classic style of Thomas Betterton , who had established the tradition of Shakespeare's bravura reper- tory ...
... light of shifting conceptions of “ nature " and " art . " At times , these changes had taken place gradually ; for example , the classic style of Thomas Betterton , who had established the tradition of Shakespeare's bravura reper- tory ...
Página 16
... lighting , and text , welded together by a master artist , the director . Rejecting the lavish realism and multiple set pieces of Victorian tradition , they espoused simple , permanent or semipermanent settings and subtle lighting ...
... lighting , and text , welded together by a master artist , the director . Rejecting the lavish realism and multiple set pieces of Victorian tradition , they espoused simple , permanent or semipermanent settings and subtle lighting ...
Contenido
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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Términos y frases comunes
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 Lady 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
Referencias a este libro
Art, Glitter, and Glitz: Mainstream Playwrights and Popular Theatre in 1920s ... Arthur Gewirtz,James Kolb Sin vista previa disponible - 2004 |
Art, Glitter, and Glitz: Mainstream Playwrights and Popular Theatre in 1920s ... Arthur Gewirtz,James Kolb Vista de fragmentos - 2004 |