Shakespeare and the Modern Stage; with Other EssaysDigiCat, 16.09.2022 - 183 Seiten In 'Shakespeare and the Modern Stage; with Other Essays,' Sidney Sir Lee articulates a persuasive examination of the Bard's enduring influence on contemporary theatre. The text delves into the transformation of Shakespeare's work over the centuries and how it resonates with audiences and artists alike in the modern era. Lee's prose is erudite and engaging, blending historical analysis with literary criticism. By situating Shakespeare within the broader context of evolving performance conventions and audience expectations, Lee crafts a study that is at once a scholarly contemplation and a lively discourse on the dialogue between past and present theatrical mores. Sir Lee's own scholarly background significantly informs his writing; his expertise as a Shakespearean academic is evident throughout the essays. His insights are informed not only by a deep-seated understanding of Elizabethan drama but also by an astute awareness of the cultural and societal shifts that influence theatrical interpretation. Lee's oeuvre reflects comprehensive research and an impassioned engagement with Shakespeare's texts, making clear why they remain pivotal to the study of literature and drama. 'To both the seasoned Shakespearean scholar and the enthusiastic newcomer, Sidney Sir Lee's work offers a resplendent exploration of the timeless allure and adaptability of Shakespeare's oeuvre. Readers seeking a nuanced perspective on how classic works are perpetually reinvented will find Lee's collection of essays an invaluable resource. This edition, careful in its republication to honor the integrity of Lee's original vision, invites one to a deeper appreciation of the complexities inherent in staging the works of the Bard in the ever-evolving landscape of modern theatre. |
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... never be disclosed to the mere playgoer, but "a large, a very large, proportion of that indefinite all" may be revealed to him on the stage, and, if he be no patient reader, will be revealed to him nowhere else. There are earnest ...
... never be disclosed to the mere playgoer, but "a large, a very large, proportion of that indefinite all" may be revealed to him on the stage, and, if he be no patient reader, will be revealed to him nowhere else. There are earnest ...
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... never known to stray when he produced a great play by Shakespeare. In Shakespeare's day boys or men took the part of women, and how characters like Lady Macbeth and Desdemona were adequately rendered by youths beggars belief. But ...
... never known to stray when he produced a great play by Shakespeare. In Shakespeare's day boys or men took the part of women, and how characters like Lady Macbeth and Desdemona were adequately rendered by youths beggars belief. But ...
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... never be safely ignored. Such an exordium as the chorus before Henry V. would indeed be pertinent to every stage performance of great drama in any age or country. It matters not whether the spectacular machinery be of royal magnificence ...
... never be safely ignored. Such an exordium as the chorus before Henry V. would indeed be pertinent to every stage performance of great drama in any age or country. It matters not whether the spectacular machinery be of royal magnificence ...
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... never really prove attractive in any guise, has little or no imagination to exercise, and he only tolerates a performance in the theatre when little or no demand is made on the exercise of the imaginative faculty. "The groundlings ...
... never really prove attractive in any guise, has little or no imagination to exercise, and he only tolerates a performance in the theatre when little or no demand is made on the exercise of the imaginative faculty. "The groundlings ...
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... Benedick, and Mercutio, as the profound "natural" philosopher of the great tragedies, he could never have been quite I I II III IV V VI VII VIII IX II TABLE OF CONTENTS SHAKESPEARE AND THE ELIZABETHAN PLAYGOER I II I II.
... Benedick, and Mercutio, as the profound "natural" philosopher of the great tragedies, he could never have been quite I I II III IV V VI VII VIII IX II TABLE OF CONTENTS SHAKESPEARE AND THE ELIZABETHAN PLAYGOER I II I II.
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acting actor actor-manager actor-manager system admiration artistic audience Ben Jonson Benson's Betterton biography character Charles classical comedy contemporary Contents I Table countrymen critical D'Avenant D'Avenant's diary dramatic art dramatist Drury Lane Dryden Ducis Elizabethan Elizabethan playgoer endeavour England English experience France French Fuller genius gossip Hamlet Henry honour human imagination John Jonson Julius Cæsar King less lips literary drama literature lived London Lowin Macbeth memory methods Midsummer Night's Dream monument moral municipal theatre nation natural never Nicholas Rowe oral tradition Othello patriotic instinct Pepys saw Pepys's performance philosophy piece playgoing playhouse poet poet's poetic poetry present production realise rendering reputation Richard II rôle scenery scenic sentiment seventeenth century Shakespeare died Shakespeare's career Shakespeare's death Shakespeare's plays Shakespearean drama speech stage Stratford Stratford-on-Avon Table of Contents Tempest theatrical enterprise thou tragedy Twelfth Night William Beeston William Shakespeare writing wrote