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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... playhouse was situated in the unfashionable neighbourhood of Islington. But the prophets of evil, who were no greater strangers to Phelps's generation than they are to our own, were themselves confuted by his experience. V. Table of ...
... playhouse was situated in the unfashionable neighbourhood of Islington. But the prophets of evil, who were no greater strangers to Phelps's generation than they are to our own, were themselves confuted by his experience. V. Table of ...
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... playhouse. The programme was constantly changed. The scenic appliances were simple, adequate, and inexpensive. The supernumerary staff was restricted to the smallest practicable number. The general expenses were consequently kept within ...
... playhouse. The programme was constantly changed. The scenic appliances were simple, adequate, and inexpensive. The supernumerary staff was restricted to the smallest practicable number. The general expenses were consequently kept within ...
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... playhouse can, if the manager so will it, actually hold within its walls the "vasty fields of France," or confine "two mighty monarchies." A wider and quite impersonal trend of thought is offered for consideration by Shakespeare's ...
... playhouse can, if the manager so will it, actually hold within its walls the "vasty fields of France," or confine "two mighty monarchies." A wider and quite impersonal trend of thought is offered for consideration by Shakespeare's ...
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... playhouse. But Shakespeare's journal does not exist, and we can only speculate as to its contents. II. Table of Contents We would give much to know how Shakespeare recorded in his diary the first performance of Hamlet, the most ...
... playhouse. But Shakespeare's journal does not exist, and we can only speculate as to its contents. II. Table of Contents We would give much to know how Shakespeare recorded in his diary the first performance of Hamlet, the most ...
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... playhouse in his lifetime—"These plays have had their trial already, and stood out all appeals." Matthew Arnold, apparently quite unconsciously, echoed the precise phrase when seeking to express poetically the universality of ...
... playhouse in his lifetime—"These plays have had their trial already, and stood out all appeals." Matthew Arnold, apparently quite unconsciously, echoed the precise phrase when seeking to express poetically the universality of ...
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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