John Barrymore, Shakespearean actor / Michael A Morrison
By: Morrison, Michael A.
Material type:
TextPublisher: Cambridge : Cambridge University Press, 1997Description: 398 p.ISBN: 9780521629799.Subject(s): Film adaptations | Great Britain | ActingDDC classification: 792.028092 M878J 1997 Summary: "This book begins with two assumptions: first, that Shakespeare wrote scripts for actors and audiences, not texts for readers; and second, that we can best appreciate how Shakespeare's scripts create dramatic meaning by attempting to visualize their performances in the theatrical settings for which they were originally created, the Theatre and the Globe."--BOOK JACKET. "The shape of the thrust stage, with its spectators arranged on three sides around it, created complex spectator reactions to the performance of the plays. The resulting "multiple perspectives" are often central to the performed meaning of particular scenes in ways that cannot be appreciated in modern proscenium theaters. Rather than arguing for a "unified response" among spectators, as many scholars do, the book argues that when the plays are performed on thrust stages, the audience's reactions are actually seminal to the plays' intended dramatic effects."--BOOK JACKET. "The initial chapter defines Shakespeare's "theatrical energies" by scrutinizing the script of The Taming of the Shrew for clues to its performance and intended reactions. Arguing against feminist and new historicist criticism, which view the play as a social document, Shurgot insists that we examine it as what in fact it is - a play - and the author finds Petruchio's and Kate's theatrical energies leading to a robust and satisfying romantic finale."--BOOK JACKET. "The remaining chapters, beginning with the final scenes in A Midsummer Night's Dream and Love's Labor's Lost, examine Shakespeare's developing mastery of the relationship of stage and audience, multiple perspectives, and possibilities for complex dramatic meanings created by the architecture of the theater."
| Item type | Current location | Call number | Status | Date due | Barcode |
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Masood Faisal Jhandir Library | 792.028092 M878J 1997 (Browse shelf) | Available | 020481. | |
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Books
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Masood Faisal Jhandir Library | 792.028092 M878J 1997 (Browse shelf) | Available | 020511. |
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| 792.028092 H417M 1990 My life in three acts | 792.028092 L764W 1993 When's it coming out? / | 792.028092 M878J 1997 John Barrymore, Shakespearean actor / | 792.028092 M878J 1997 John Barrymore, Shakespearean actor / | 792.028092 S534E 1949 Ellen Terry and Bernard Shaw : a correspondence / | 792.0280924 K758D 1977 Damned in paradise : the life of John Barrymore / | 792.0280924 O491C 1982 Confessions of an actor : an autobiography / |
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"This book begins with two assumptions: first, that Shakespeare wrote scripts for actors and audiences, not texts for readers; and second, that we can best appreciate how Shakespeare's scripts create dramatic meaning by attempting to visualize their performances in the theatrical settings for which they were originally created, the Theatre and the Globe."--BOOK JACKET. "The shape of the thrust stage, with its spectators arranged on three sides around it, created complex spectator reactions to the performance of the plays. The resulting "multiple perspectives" are often central to the performed meaning of particular scenes in ways that cannot be appreciated in modern proscenium theaters. Rather than arguing for a "unified response" among spectators, as many scholars do, the book argues that when the plays are performed on thrust stages, the audience's reactions are actually seminal to the plays' intended dramatic effects."--BOOK JACKET. "The initial chapter defines Shakespeare's "theatrical energies" by scrutinizing the script of The Taming of the Shrew for clues to its performance and intended reactions. Arguing against feminist and new historicist criticism, which view the play as a social document, Shurgot insists that we examine it as what in fact it is - a play - and the author finds Petruchio's and Kate's theatrical energies leading to a robust and satisfying romantic finale."--BOOK JACKET. "The remaining chapters, beginning with the final scenes in A Midsummer Night's Dream and Love's Labor's Lost, examine Shakespeare's developing mastery of the relationship of stage and audience, multiple perspectives, and possibilities for complex dramatic meanings created by the architecture of the theater."
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