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Reiko Oya explores theatrical expressions of Shakespearean tragedy in Georgian London and the relations between the representative players of the time - David Garrick, John Philip Kemble and his sister Sarah Siddons, and Edmund Kean - and their close circle of friends. The book begins by analysing the tragic emotion that Garrick conveyed through his performance of King Lear, and the responses to it from such critics as Samuel Johnson and Elizabeth Montagu. The second chapter examines the concept of sublimity in Kemble and Siddons' interpretations of Macbeth. The final chapter studies the disparity between the literary and the theatrical Hamlet in Kean's impersonation and William Hazlitt's response to it. With subjects ranging from Shakespearean promptbooks to paintings and the poetics of Romanticism, the book offers great insights into the exchange of ideas and inspirations among the cultural luminaries who surrounded the London stage.Read more
- Covers a wide range of cultural phenomena of the eighteenth and early nineteenth centuries
- Offers a model for a cultural approach to Shakespeare, combining acting, criticism, painting and playwriting with biographical anecdotes
- Accessibly written, the book is divided into three main sections which discuss King Lear, Macbeth and Hamlet
Reviews & endorsements
"The book will not only be appreciated by scholars of the eighteenth century and by Shakespeareans but will be of interest also to dramatists, actors and aestheticians. Indeed, because all the necessary information is so fully presented, the book can also be read fruitfully by a general reader without a profound knowledge of the period"
-Angela Kikue Davenport, The University of Tokyo
23rd Nov 2015 by Atik
The following title regarding the representation of Shakespeares tragedy is really helpful.
Review was not posted due to profanity×
- Date Published: February 2011
- format: Paperback
- isbn: 9780521181402
- length: 258 pages
- dimensions: 229 x 152 x 15 mm
- weight: 0.38kg
- availability: Available
Table of Contents
Introduction: Garrick's prologue
1. Winding up 'th'untuned and jarring senses': Garrick, King Lear, and contemporary theatrical/literary criticism
2. 'Who dares do more': Kemble, Siddons, and the question of sublimity in Macbeth
3. 'Speak the speech, I pray you': Kean, Hamlet, and the Romantic 'playwrights'
Conclusion: Kean's farewell.
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