6 results
Contributors
-
- By Krista Adamek, Ana Luisa K. Albernaz, J. Marcio Ayres†, Andrew J. Baker, Karen L. Bales, Adrian A. Barnett, Christopher Barton, John M. Bates, Jennie Becker, Bruna M. Bezerra, Júlio César Bicca-Marques, Richard Bodmer, Jean P. Boubli, Mark Bowler, Sarah A. Boyle, Christini Barbosa Caselli, Janice Chism, Elena P. Cunningham, José Maria C. da Silva, Lesa C. Davies, Nayara de Alcântara Cardoso, Manuella A. de Souza, Stella de la Torre, Ana Gabriela de Luna, Thomas R. Defler, Anthony Di Fiore, Eduardo Fernandez-Duque, Stephen F. Ferrari, Wilsea M.B. Figueiredo-Ready, Tracy Frampton, Paul A. Garber, Brian W. Grafton, L. Tremaine Gregory, Maria L. Harada, Amy Harrison-Levine, Walter C. Hartwig, Stefanie Heiduck, Eckhard W. Heymann, André Hirsch, Leandro Jerusalinsky, Gareth Jones, Richard F. Kay, Martin M. Kowalewski, Shawn M. Lehman, Laura Marsh, Jesús Martinez, William A. Mason, Hope Matthews, Wynlyn McBride, Shona McCann-Wood, W. Scott McGraw, D. Jeffrey Meldrum, Sally P. Mendoza, Nohelia Mercado, Russell A. Mittermeier, Mirjam N. Nadjafzadeh, Marilyn A. Norconk, Robert Gary Norman, Marcela Oliveira, Marcelo M. Oliveira, Maria Juliana Ospina Rodríguez, Erwin Palacios, Suzanne Palminteri, Liliam P. Pinto, Marcio Port-Carvalho, Leila Porter, Carlos Portillo-Quintero, George Powell, Ghillean T. Prance, Rodrigo C. Printes, Pablo Puertas, P. Kirsten Pullen, Helder L. Queiroz, Luis Reginaldo R. Rodrigues, Adriana Rodríguez, Alfred L. Rosenberger, Anthony B. Rylands, Ricardo R. Santos, Horacio Schneider, Eleonore Z.F. Setz, Suleima S.B. Silva, José S. Silva Júnior, Andrew T. Smith, Marcelo C. Sousa, Antonio S. Souto, Wilson R. Spironello, Masanaru Takai, Marcelo F. Tejedor, Cynthia L. Thompson, Diego G. Tirira, Raul Tupayachi, Bernardo Urbani, Liza M. Veiga, Marianela Velilla, João Valsecchi, Jean-Christophe Vié, Tatiana M. Vieira, Suzanne E. Walker-Pacheco, Rob Wallace, Patricia C. Wright, Charles E. Zartman
- Edited by Liza M. Veiga, Universidade Federal do Pará, Brazil, Adrian A. Barnett, Roehampton University, London, Stephen F. Ferrari, Universidade Federal de Sergipe, Brazil, Marilyn A. Norconk, Kent State University, Ohio
-
- Book:
- Evolutionary Biology and Conservation of Titis, Sakis and Uacaris
- Published online:
- 05 April 2013
- Print publication:
- 11 April 2013, pp xii-xv
-
- Chapter
- Export citation
The Poet and the Player
- Edited by Allardyce Nicoll
-
- Book:
- Shakespeare Survey
- Published online:
- 28 March 2007
- Print publication:
- 02 January 1954, pp 25-34
-
- Chapter
- Export citation
-
Summary
A born dramatist is an artist who sees figures moving and hears voices blending. His pigments and clay are flesh and blood, his instrument the human voice. With a limited time and a restricted space he manœuvres two or more human beings in such a way as to compel from other human beings the attention thay would give to a contest at chess, at tennis, or in the ring. He is at once stump orator, puppet-showman and ventriloquist. He feels and thinks in terms of the ear and the eye. It is the momentary picture and the fleeting phrase that count. The audience must carry away certain visual and certain auditory memories. In poetic drama the ear supersedes the eye.
The cardinal part of the dramatist's problem, Granville-Barker asserts, is how to provide for the collaboration of the actor. “Collaboration it has to be. Interpretation understates the case.” The character is re-created in terms of the actor's personality. In the history of the stage this collaboration often appears to be less an alliance than a rivalry and the great periods of renaissance and development, according to Granville-Barker, have almost invariably been dominated by dramatists who knew so much of actors and acting that they had no illusions left about them.
Festival Shakespeare in the West End
- Edited by Allardyce Nicoll
-
- Book:
- Shakespeare Survey
- Published online:
- 28 March 2007
- Print publication:
- 02 January 1953, pp 140-146
-
- Chapter
- Export citation
-
Summary
“Antony and Cleopatra is an attempt at serious drama. To say that there is plenty of bogus characterization in it—Enobarbus for instance—is merely to say that it is by Shakespeare. But the contrast between Caesar and Antony is true human drama; and Caesar himself is deeper than the usual Shakespearean stage king.” Thus Bernard Shaw in 1897, after “an afternoon of lacerating anguish, spent partly in contemplating Miss Achurch’s overpowering experiments in rhetoric, and partly in wishing I had never been born”. He had already endured the production at Manchester, where Janet Achurch’s magnificent voice and audacious but discordant conception of Shakespeare’s music suggested that she had been “excited by the Hallelujah Chorus to dance on the keyboard of a great organ with all the stops pulled out”. Janet Achurch had created Ibsen’s heroines for the English intelligentsia—unapproachable as Nora and Mrs Alving—and for Cleopatra, having no gift for comedy, “she substituted Brynhild-cum-Nora Helmer in an Ibsen-and-Wagner pie”.”
Stratford Productions
- Edited by Allardyce Nicoll
-
- Book:
- Shakespeare Survey
- Published online:
- 28 March 2007
- Print publication:
- 02 January 1948, pp 107-111
-
- Chapter
- Export citation
-
Summary
The new regime at the Shakespeare Memorial Theatre, inaugurated by the Executive Council of the Governors of the Shakespeare Memorial Theatre under the chairmanship of Lieut.-Col. Fordham Flower, and directed by Sir Barry Jackson, has two seasons to its credit, so that one can distinguish the main changes in policy and attempt an estimate of what has been achieved. The most significant innovation has been the employment of a diversity of producers. Sir Barry has thrown his net wide—from Norwich to Yale, the old hand and the new, actor and academic, age and youth, ingenious experiment and sturdy tradition. This has been a great stimulus to all members of the company, and a valuable education hardly to be gained elsewhere. At the same time the method has its drawbacks. The players are constantly being called on to respond to a new producer and to accommodate themselves to very different views. This prevents stagnation, but is a severe tax on players who are asked to present a full series of plays each week as well as to rehearse the forthcoming productions.
The next notable change in policy is revealed in the lavish and sometimes extravagant expenditure on scenery and costume. While there have been some comparatively simple settings, such as that of Otis Riggs for Measure for Measure, or that of Sir Barry Jackson for Pericles, others have been more ambitious and less successful. Take, for example, the elaborate sets designed by Hal Burton for Richard II. These undoubtedly pleased the eye, but at times necessitated groupings and movements which lacked significance, or even militated against the realization of Shakespeare's ideas. The Deposition scene, which is the heart of the play, had none of the formal beauty of grouping and utterance which were clearly intended. Richard was too restless, and certainly the throne of contention should be set in the middle of the stage, as indeed must Richard be in the prison scene for the complicated soliloquy which expresses the Hamlet element in him—an element that Robert Harris or Walter Hudd failed, or perhaps did not desire, to convey.
London Productions
- Edited by Allardyce Nicoll
-
- Book:
- Shakespeare Survey
- Published online:
- 28 March 2007
- Print publication:
- 02 January 1948, pp 103-106
-
- Chapter
- Export citation
-
Summary
This season has seen some interesting groups of productions, both of Shakespeare’s plays and of the Elizabethan or Jacobean drama closely associated with Shakespeare, by several London companies. Shakespeare seasons were given by the Old Vic Company, the Advance Players Association, and the Regent’s Park Outdoor Theatre, covering between them a fair proportion of the plays and reaching out to include contemporary drama such as The Alchemist, Volpone and The White Devil.
A surprising feature of the season has been the coincidence of four performances of Lear. Clearly these could best be studied by grouping them together—such an opportunity for close and immediate comparison of various techniques and interpretations rarely arises—and this subject has been treated separately by Charles Landstone, as a single unit (see pp. 98-102). A large part of the Old Vic's work has, in the same way, been dealt with by George Rylands in a general survey, while a short note on the Advance Players' series and on the later Old Vic Richard II will be found at the end of this notice.
ELIZABETHAN DRAMA IN THE WEST END
reviewed by George Rylands
During the war and since, the Old Vic has undergone a complete transformation. The ideals of Miss Bayliss were directed towards the straightforward presentation of Shakespeare at a reasonable cost, the training of young actors, the orchestral rather than the virtuoso performance. These ideals have faded. More has been lost than has been gained and instead of the veterans and tyros of the Waterloo Road we have had a company whose work is very showy, somewhat superficial, and highly successful. It was inevitable that under the conditions of war the public and the critics should become quite undiscriminating. The inherent weaknesses and inequalities of most of the productions and the abandonment of the old tradition and of proper standards within certain necessary limitations have escaped the notice of eyes blinded by the glamour of a few bright particular stars. On the credit side we readily allow that certain individual performances have made theatrical history. Sir Laurence Olivier as Richard III, as Hotspur, as Justice Shallow: Sir Ralph Richardson as Falstaff; Alec Guiness as Lear's Fool. For these creations much may be forgiven.
Shakespeare the Poet
- Edited by H. Granville-Barker, G. B. Harrison
-
- Book:
- Companion to Shakespeare Studies
- Published online:
- 05 August 2012
- Print publication:
- 02 January 1934, pp 89-116
-
- Chapter
- Export citation
-
Summary
One of the three books I have with me is Shakespeare's Poems: I never found so many beauties in the Sonnets–they seem to be full of fine things said unintentionally–in the intensity of working out conceits.
Letter of Keats, November 22nd, 1817.It may perhaps be doubted whether even he did not sometimes give scope to his faculty of expression to the prejudice of a higher poetic duty.
Matthew Arnold, Preface to Poems, 1853.FROM POET TO DRAMATIST
Shakespeare was a poet before he was a dramatist. To say this is not merely to remind ourselves that he composed the narrative version of the Venus and Adonis theme before his dramatic version of the no less popular story of Titus Andronicus. The Venus and Adonis belongs to the same date as Titus and I Henry VI (if these are Shakespeare's, as I believe), and, although there have been fewer to love than to praise the poem, no one would deny that it is in its kind a finished work of art, and the two dramas the essays of an apprentice.
The question is not only how the poet was transformed into the dramatist. Poetic drama, like opera, is a peculiar genre commonly composed of warring elements, and one must ask oneself where poetry ends and drama begins. What distinguishes narrative from dramatic blank verse, dramatic speech from rhetoric, lyrical imagery from rhetorical tropes?