DOCSLIB.ORG

Theater Bernard Shaw John Bull's Other London's Alan Strachman, TRS Caedmon 4 VG+ Island Mermaid Dir

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theater Bernard Shaw John Bull's Other London's Alan Strachman, TRS Caedmon 4 VG+ Island Mermaid Dir The Theatre Bernard Shaw Misalliance London's Alan Strachan, TRS Caedmon 3 VG+ Mermaid dir. 365 Discs Theater Bernard Shaw John Bull's Other London's Alan Strachman, TRS Caedmon 4 VG+ Island Mermaid dir. 346 Discs Theater Bernard Shaw Pygmalion US Production Peter Wood, dir. TRS Caedmon 3 VG/ 354 Discs VG+ Bernard Shaw Major Barbara National Theater Howard Sackler, TRS Caedmon 4 VG+ (London) dir. 319 Discs Bernard Shaw Heartbreak House Niagra-On-The- Val Gielgud, dir. TRS Caedmon 3 VG+ Lake (Canada) 335 Dics Bernard Shaw Saint Joan Cambridge Albert Marre, dir. LOC RCA Victor 3 VG+ Drama Festival 6133 Discs Bernard Shaw Saint Joan The Theater Howard Sackler, TRS Caedmon 3 VG+ Recording dir. 311 Discs Society Eugene Dramatic Readings Amanda Frances Lloyd Richards, OL Columbia 1 VG+ O'Neill From Eugene O'Neill production dir. 5900 Disc Eugene Mourning Becomes The American Michael Kahn, TRS Caedmon 4 VG+ O'Neill Electra Shakespeare dir. 345 Discs Festival Theater Eugene More Stately Center Theater Jose Quintero, dir. TRS Caedmon 3 VG+ O'Neill Mansions Group 331 Discs Eugene Long Day's Journey Edgar Lansbury Arvin Brown, dir. TRS Caedmon 4 VG+ O'Neill Into Night production 350 Discs Eugene The Iceman Cometh The American John TRS Caedmon 5 VG+ O'Neill Film Theater Frankenheimer, 359 Discs dir. Arthur Miller An Enemy Of The The Repertory Jules Irving, dir. TRS Caedmon 3 VG+ People Theater Of 349 Discs Lincoln Center Arthur Miller The Crucible The Repertory Jules Irving, dir. TRS Caedmon 4 VG+ Theater Of 356 Discs Lincoln Center Hal Holbrook Mark Twain Tonight New York Hal Holbrook, dir. XSM Columbia 1 VG+ Engagement 47964 Disc Hal Holbrook Mark Twain New York Hal Holbrook, dir. XSM Columbia 1 VG+ Tonight, pt. 2 Engagement 51588 Disc Oliver She Stoops To Classic Theatre Elayne Carroll & CTG Magic-Tone 1 VG+ Goldsmith Conquer Guild Robert M. Culp, 4010 Disc dir. 1 The Theatre Oliver She Stoops To Production Howard Sackler, TRS Caedmon 3 VG+ Goldsmith Conquer Unknown dir. 309 Discs Racine Phedre La Comedie Director Unknown FRL Period 1 VG+ Francaise Joue 1505 Records Disc Marivaux Le Jeu L'Amour Et La Comedie Director Unknown FRLP Period 1 VG+ Du Hasard Francaise Joue 1502 Records Disc Euripides/Rbo Medea Production Director Unknown DL Decca 1 VG+ inson Jeffers Unknown 9000 Disc Sophocles Antigone The Theatre Howard Sackler, TRS Caedmon 2 VG/ Recording dir. 320 Discs VG+ Society John Dryden All For Love Or The Classic Theatre Elayne Carroll & CTG Magic-Tone 1 VG+ World Well Lost Guild Robert M. Culp, 4007 Disc dir. William The Way Of The Classic Theatre Elayne Carroll & CTG Magic-Tone 1 VG Congreve World Guild Robert M. Culp, 4006 Disc dir. Christopher Dr. Faustus Classic Theatre Elayne Carroll & CTG Magic-Tone 1 VG+ Marlowe Guild Robert M. Culp, 4005 DISC dir. John Osborne Luther The American Guy Green, dir. TRS Caedmon 2 VG+ Film Theatre 363 Discs Anton The Cherry Orchard Mineesota Marshall Jameson, TRS Caedmon 3 VG+ Chekhov Theatre dir. 314 Discs Company Moliere The School For Phoenix Theatre Stephen Porter, TRS Caedmon 3 VG+ Wives dir. 344 Discs John The Playboy Of The Production Director Unknown TRS Caedmon 2 VG+ Millington Western World Unknown 348 Discs Synge Sean O'Casey Juno And The Cyril Cusack Director Unknown IB Seraphim 2 VG+ Paycock Productions 6014 Discs Samuel Happy Days New York Andrei Serban, TRS Caedmon 2 VG+ Beckett Shakespeare dir. 366 Discs Festival Michael The Importance Of Edwards – Hilton Edwards, XSM Columbia 1 G+/ MacLiammoir Being Oscar MacLiammoir dir. 53945 Disc VG- Dublin-Gate Theater Archibald Scratch The Theater Peter H. Hunt, dir. TRS Caedmon 3 VG+ MacLeish Recording 347 Discs Society 2 The Theatre Simon Gray Butley The American Harold Pinter, dir. TRS Caedmon 3 VG/ Film Theatre 362 Discs VG+ William Five One-Act Plays The Theatre Howard Sackler, TRS Caedmon 3 VG+ Butler Yeats Recording dir. 315 Discs Society Edward Albee A Delicate Balance The American Tony Richardson, TRS Caedmon 3 VG+ Film Theater dir. 360 Discs Marty Martin Gertrude Stein, Sea-Kerr Inc. & Milton Moss, dir. TRS Caedmon 2 VG/ Gertrude Stein, Mary Ellyn 367 Discs VG+ Gertrude Stein Production Peter Weiss The Persecution And The Royal Peter Brook, dir. TRS Caedmon 3 VG+ Assassination Of Shakespeare 312 Discs Marat As Performed Company By The Inmates Of The Asylum Of Charenton Under The Direction Of The Marquis De Sade Richard The Rivals Production Howard Sackler, TC Caedmon 2 VG/ Brinsley Unknown dir. 2020 Discs VG+ Sheridan Bertold Brecth Brecth On Brecth The Greater Gene Frankel, dir. O2L- Columbia 2 VG+ New York 278 Discs Chapter Of Anta Jules Romains Knock De L'Academie Director Unknown LVA La Voix De 1 VG+ Francaise 22 L'Auteur Disc Edmond Cyrano De Bergerac/ Theatre Des Georges 320- L' 1 VG+ Rostand L'Aiglon Hommes Hacquard, dir. E-969 Encyclopedie Disc Sonore Edmond Cyrano De Bergerac Les Industries Pierre Hiegel, dir. XPTX Pathe 3 VG/ Rostand Musicales Et 253 Discs VG+ Electriques Pathe-Marconi Edmond Cyrano De Bergerac The Theater Howard Sackler, TRS Caedmon 3 VG/ Rostand Recording dir. 306-S Discs VG+ Society Various Monuments Of Production Howard Sackler, TC- Caedmon 1 VG+ Early English Drama Unknown dir. 1030 Disc vol.1: The Wellsprings Of Drama 3.
Load more

Recommended publications
  • Stage by Stage South Bank: 1988 – 1996
    Stage by Stage South Bank: 1988 – 1996 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Richard Eyre. Photograph by John Haynes. 1988 To mark the company’s 25th birthday in Peter Hall’s last year as Director of the National October, The Queen approves the title ‘Royal’ Theatre. He stages three late Shakespeare for the National Theatre, and attends an plays (The Tempest, The Winter’s Tale, and anniversary gala in the Olivier. Cymbeline) in the Cottesloe then in the Olivier, and leaves to start his own company in the The funds raised are to set up a National West End. Theatre Endowment Fund. Lord Rayne retires as Chairman of the Board and is succeeded ‘This building in solid concrete will be here by the Lady Soames, daughter of Winston for ever and ever, whatever successive Churchill. governments can do to muck it up. The place exists as a necessary part of the cultural scene Prince Charles, in a TV documentary on of this country.’ Peter Hall architecture, describes the National as ‘a way of building a nuclear power station in the September: Richard Eyre takes over as Director middle of London without anyone objecting’. of the National. 1989 Alan Bennett’s Single Spies, consisting of two A series of co-productions with regional short plays, contains the first representation on companies begins with Tony Harrison’s version the British stage of a living monarch, in a scene of Molière’s The Misanthrope, presented with in which Sir Anthony Blunt has a discussion Bristol Old Vic and directed by its artistic with ‘HMQ’.
    [Show full text]
  • {PDF} the First Quarto of Hamlet 1St Edition Ebook
    THE FIRST QUARTO OF HAMLET 1ST EDITION PDF, EPUB, EBOOK William Shakespeare | 9780521653909 | | | | | The First Quarto of Hamlet 1st edition PDF Book The Murder of Gonzago is played before the assembled court, but is interrrupted when Claudius suddenly rises and leaves. This is the only modernised critical edition of the quarto in print. Scarce thus. The First Quarto of Hamlet. A handful of sources contributed significantly to the creation of Hamlet. King Richard II. Condition: Very Good. The first critic of the , first Spanish translation of Shakespeare's Hamlet. British Library copies of Hamlet contains detailed bibliographic descriptions of all the quarto copies of the play. Great Neck, N. Perhaps most crucially, Amleth lacks Hamlet's melancholy disposition and long self-reflexive soliloquies, and he survives after becoming king" British Library. Nevertheless, there is some evidence that Shakespeare did at least consult Saxo. There is an entire scene between Horatio and Gertrude in which Horatio tells her that Hamlet has escaped from the ship after discovering Claudius' plan to kill him. Protected under mylar cover. Published by Printed for P[hilip] C[hetwinde], London Theatrical adaption. Some scenes take place at a different point in the story — for example Hamlet's " To be, or not to be " soliloquy occurs in Act Two, immediately after Polonius proposes to set up an "accidental" meeting between Hamlet and Ophelia. According to the title page, the play was printed 'as it is now acted at His Highness the Duke of York's Theatre. Namespaces Article Talk. Occasional neat underlinings and scholarly notes, some minor marginal wormholes.
    [Show full text]
  • A Midsummer Night's Dream”: a Director's Notebook Natasha Bunnell Old Dominion University
    Old Dominion University ODU Digital Commons Institute for the Humanities Theses Institute for the Humanities Spring 2003 “A Midsummer Night's Dream”: A Director's Notebook Natasha Bunnell Old Dominion University Follow this and additional works at: https://digitalcommons.odu.edu/humanities_etds Part of the Dramatic Literature, Criticism and Theory Commons, and the Literature in English, British Isles Commons Recommended Citation Bunnell, Natasha. "“A Midsummer Night's Dream”: A Director's Notebook" (2003). Master of Arts (MA), thesis, Humanities, Old Dominion University, DOI: 10.25777/d8jv-a035 https://digitalcommons.odu.edu/humanities_etds/29 This Thesis is brought to you for free and open access by the Institute for the Humanities at ODU Digital Commons. It has been accepted for inclusion in Institute for the Humanities Theses by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. A MIDSUMMER NIGHT’S DREAM: A DIRECTOR’S NOTEBOOK by Natasha Bunnell B. A. August 1997, Old Dominion University A Thesis Submitted to the Faculty of Old Dominion University in Partial Fulfillment of the Requirement for the Degree of MASTER OF ARTS HUMANITIES OLD DOMINION UNIVERSITY May 2003 Approved by: Christopher Hanna (Director) Erfime Hendrix (Mdmber) Jary Copyright © 2003 by Natasha Bunnell. All rights reserved. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1414392 Copyright 2003 by Bunnell, Natasha All rights reserved. ® UMI UMI Microform 1414392 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O.
    [Show full text]
  • 360 ° Series
    ON THE PLAY, PLAYWRIGHT, AND PRODUCTION VIEWFINDER: FACTS AND PERSPECTIVES 360 ° SERIES U S P R E M I E R E T H E V A L L E Y O F A S T O N I S H M E N T C O N C E I V E D A N D D I R E C T E D B Y P E T E R B R O O K A N D M A R I E - H É L È N E E S T I E N N E WWW.TFANA.ORG TABLE OF CONTENTS The Play 3 An Introduction from Peter Brook 4 Dialogues: From ‘The Key of Clear Green’ by Oliver Sacks, M.D. 7 Mandalas: An Installation Inspired by The Valley of Astonishment The Production 9 Dialogues: On the Making of The Valley Of Astonishment, An Interview With Peter Brook by James Woodall 11 Cast and Creative Team About Theatre For a New Audience 16 Mission and Programs 17 Major Supporters The Valley of Astonishmentis a C.I.C.T. / Théâtre des Bouffes du Nord production, co-produced by Theater for a New Audience, New York; Les Théâtres de la ville de Luxembourg; Théâtre d’Arras / Tandem Arras-Douai; Théâtre du Gymnase, Marseille; Warwick Arts Center; Holland Festival, Amsterdam; Attiki Cultural Society, Athens; Musikfest Bremen; Théâtre Forum Meyrin, Geneva; C.I.R.T. and Young Vic Theatre, London. The Valley of Astonishmentpremiered at Théâtre des Bouffes du Nord, Paris on April 29th, 2014. The producers would like to thank Franck Krawczyk, Carol Steen, Jon Adams, Daniel Tammet, Dr.
    [Show full text]
  • MISALLIANCE : Know-The-Show Guide
    The Shakespeare Theatre of New Jersey MISALLIANCE: Know-the-Show Guide Misalliance by George Bernard Shaw Know-the-Show Audience Guide researched and written by the Education Department of The Shakespeare Theatre of New Jersey Artwork: Scott McKowen The Shakespeare Theatre of New Jersey MISALLIANCE: Know-the-Show Guide In This Guide – MISALLIANCE: From the Director ............................................................................................. 2 – About George Bernard Shaw ..................................................................................................... 3 – MISALLIANCE: A Short Synopsis ............................................................................................... 4 – What is a Shavian Play? ............................................................................................................ 5 – Who’s Who in MISALLIANCE? .................................................................................................. 6 – Shaw on — .............................................................................................................................. 7 – Commentary and Criticism ....................................................................................................... 8 – In This Production .................................................................................................................... 9 – Explore Online ...................................................................................................................... 10 – Shaw: Selected
    [Show full text]
  • Savoring the Classical Tradition in Drama
    SAVORING THE CLASSICAL TRADITION IN DRAMA MEMORABLE PRESENTATIONS BY THE SHAKESPEARE GUILD I N P R O U D COLLABORATION WIT H THE NATIONAL ARTS CLUB THE PLAYERS, NEW YORK CITY THE ENGLISH-SPEAKING UNION JIM DALE ♦ Friday, January 24 In the 1950s and ’60s JIM DALE was known primarily as a singer and songwriter, with such hits as Oscar nominee “Georgy Girl” to his credit. Meanwhile he was earning plaudits as a film and television comic, with eleven Carry On features that made him a NATIONAL ARTS CLUB household name in Britain. Next came stage roles like 15 Gramercy Park South Autolycus and Bottom with Laurence Olivier’s National Manhattan Theatre Company, and Fagin in Cameron Mackintosh’s PROGRAM AT 6:00 P.M. Oliver. In 1980 he collected a Tony Award for his title Admission Free, But role in Barnum. Since then he has been nominated for Reservations Requested Tony, Drama Desk, and other honors for his work in such plays as Candide, Comedians, Joe Egg, Me and My Girl, and Scapino. As if those accolades were not enough, he also holds two Grammy Awards and ten Audie Awards as the “voice” of Harry Potter. We look forward to a memorable evening with one of the most versatile performers in entertainment history. RON ROSENBAUM ♦ Monday, March 23 Most widely known for Explaining Hitler, a 1998 best-seller that has been translated into ten languages, RON ROSENBAUM is also the author of The Secret Parts of Fortune, Those Who Forget the Past, and How the End Begins: The Road to a Nuclear World War III.
    [Show full text]
  • King Lear on Screen Characterisation King Lear King Lear on Screen
    King Lear King Lear on Screen Characterisation King Lear King Lear on Screen Film Versions King Lear (2008) ‘Ian McKellen gives a tour-de-force performance as Shakespeare’s tragic titular monarch in this special television adaptation of the Royal Shakespeare Company production of one of the playwright’s most enduring and haunting works.’ https://www.youtube.com/watch?v=9iyekz9zy_c King Lear (1971) Paul Scofield is the grief-maddened monarch in Peter Brook’s film version. Shot starkly in black and white, minimally scored and imbued with an almost Beckettian gloom, the work has a raw, rough- hewn medievalism perfectly suited to the tragedy. www.imdb.com/title/tt0067306 Excerpts from Film Adaptations The Guardian: a YouTube roundup. http://www.theguardian.com/stage/theatreblog/2014/jan/13/king-lear-simon-russell-beale- national-youtube Actors and Directors Discuss King Lear ‘Understanding King Lear’: actor and director Ian McKellen explains his understanding of Lear’s character. https://www.youtube.com/watch?v=ahFtoCq6CHw ‘How does Lear’s Perception of himself change?’ Cyclone Rep actor David Peare answers the question. https://www.youtube.com/watch?v=V28zr5fQR84 ‘Talking Goneril, Regan and Cordelia’ (National Theatre): Fiona Mountford talks to Kate Fleetwood, Anna Maxwell Martin and Olivia Vinall about playing the three daughters in Lear, being directed by Sam Mendes and performing in the Olivier Theatre. https://www.youtube.com/watch?v=IV7KFy8I39w ‘Talking Gloucester, Edmund and Edgar’ (National Theatre): Stephen Boxer (Gloucester), Sam Troughton (Edmund) and Tom Brooke (Edgar) talk to Mark Leipacher about the National Theatre’s production of King Lear directed by Sam Mendes.
    [Show full text]
  • The Cherry Orchard
    9 Brooklyn Academy of Music presents The Cherry Orchard Xt. Of P BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President and Executive Producer presents The Cherry Orchard by ANTON CHEKHOV English Translation by ELISAVETA LAVROVA with (in alphabetical order) ROBERTS BLOSSOM BRIAN DENNEHY HOWARD HENSEL LINDA HUNT ZELJKO IVANEK ERLAND JOSEPHSON KATE MAILER CHRIS MCNALLY REBECCA MILLER MIKE NUSSBAUM NATASHA PARRY DAVID PIERCE STEPHANIE ROTH JAN TRISKA Set and Costumes Designed by CHLOE OBOLENSKY Lighting Designed by Incidental Music Composed by JEAN KALMAN MARIUS CONSTANT Production Stage Manager Casting by ROBERT BENNETT RISA BRAMON and BILLY HOPKINS LISA PETERSON MARIE-HELENE ESTIENNE Directed by PETER BROOK Joseph V. Melillo, Associate Producer Michael O'Rand, General Manager Paul E. King, Production Manager BAM Majestic Theater This program has been sponsored by grants from eon & © New York Telephone INCORPORATED A NYNEX Company glib. CHASE 0 1; GRENADIER REALTY CORP. of STARRETT CITY IMP , I . managing agent Arts. Additional funds have been provided by the National Endowment for the Arts and the New York State Council on the The BAM facility is owned by the City of New York and its operation is supported, in part, with public funds provided through the New York City Department of Cultural Affairs. The principal capital funding for the BAM Majestic Theater with the was provided by the City of New York through the New York City Department of Cultural Affairs special assistance of the Brooklyn Borough President's Office and the Office
    [Show full text]
  • Joan of Arc in History and in Shaw Department of Enclish
    Joan of Arc in history and in Shaw Item Type text; Thesis-Reproduction (electronic) Authors Covey, Jewyl Monica, 1925- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 14:04:43 Link to Item http://hdl.handle.net/10150/551296 JOAN OF ARC IN HISTORY AND IN SHAW by Jewyl Covey A Thesis Submitted to the Faculty of the DEPARTMENT OF ENCLISH In Partial Fulfillment of the Requirements For the Degree of . ^ MASTER OF ARTS In the Graduate College UNIVERSITY OF ARIZONA 1957 3 flu to -too S'? 3fi 5 od &Ovd n s i 1 3 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from ttiis thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quota­ tion from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in their judgment the proposed use of the material is in the interests of scholar­ ship. In all other instances, however, permission must be obtained from the author.
    [Show full text]
  • March 18, 2011
    RESNICOW SCHROEDER March 18, 2011 RSC: How Stratford got its bite back Vibrant, sexy and ensconced in a swish new home, as it reaches its 50th year the Royal Shakespeare Company is buzzing. But just a while ago, it looked doomed. Charles Spencer meets Michael Boyd, the man who pulled an institution back from the brink Michael Boyd strikes me as one of the great unsung heroes of our cultural life. With dogged determination, the artistic director has pulled the Royal Shakespeare Company back to the commanding heights of British theatre. As the company prepares to celebrate its 50th anniversary season in Stratford, in a building that has been spectacularly transformed, I can’t remember a time when it seemed in more exuberant form, or more sharply focused. The rise in its fortunes seems to be encapsulated by its joyous smash hit Matilda, based on the Roald Dahl story, which opened last December. It’s the best new musical since Billy Elliot and will transfer to the West End this autumn, with Broadway almost certain to follow. Suddenly the RSC seems vibrant and sexy again. Last week the critics were invited to see productions of King Lear and Romeo and Juliet in the newly remodelled Royal Shakespeare Theatre. Very wisely, Boyd is opening the new building with shows that were already in the rep of the temporary Courtyard Theatre, a massive metal box that provided both a home, and the prototype for the new RST, during the three and a half years of the building project – which finished on time and on budget.
    [Show full text]
  • Announcing a VIEW from the BRIDGE
    FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street.
    [Show full text]
  • “The Worst Is Not So Long As We Can Say 'This Is the Worst.'
    “The worst is not so long as we can say 'This is the worst.' Themes of redemption and power in 21st century productions of King Lear The only surviving record of a performance of King Lear during William Shakespeare’s lifetime is immortalized on the title page of the 1608 quarto: “As it was played before the King's Majesttie at Whitehall upon S. Stephens night in Christmas Hollidayes.”1 Some scholars, however, contest that the play probably had a rich stage history during Shakespeare’s lifetime, at The Globe Theater as well as the King’s court.2 The play’s titanic themes – nature, redemption, nothingness – and its relatively minimalistic staging would have made it ideal for a bare apron stage. When the players raised their black flag above the theater to signal a tragedy, Londoners would have flocked to the Bankside to see Richard Burbage in the title role. Props and stage pieces would have been minimal, maybe only a chair and Kent’s stocks. The King’s Players made no attempts to recreate Iron Age England. Most of the play’s iconic images – the storm, Lear’s throne room, the heath – were left for the audience’s imagination. After years of attempting to perfectly recreate thunder and lightning onstage, many contemporary King Lear productions have returned to the internalized, stylistic staging of the play’s earliest days. As Henry Granville Barker explains in his landmark Prefaces to Shakespeare, “the storm is not in itself, moreover, dramatically important, 1 William Shakespeare, M. VVilliam Shakespeare, his true chronicle history of the life and death of King Lear, and his three daughters With the vnfortunate life of Edgar, sonne and heire to the Earle of Glocester, and his sullen and assumed humour of Tom of Bedlam (1608).
    [Show full text]