Sir Laurence Olivier Le Triomphe De La Technique Patrick Schupp

Total Page:16

File Type:pdf, Size:1020Kb

Sir Laurence Olivier Le Triomphe De La Technique Patrick Schupp Document generated on 09/25/2021 5:35 a.m. Séquences La revue de cinéma Visage — Sir Laurence Olivier Le triomphe de la technique Patrick Schupp Le cinéma au Québec Number 120, April 1985 URI: https://id.erudit.org/iderudit/50862ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Schupp, P. (1985). Visage — Sir Laurence Olivier : le triomphe de la technique. Séquences, (120), 102–103. Tous droits réservés © La revue Séquences Inc., 1985 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ SÉQUENCES N" 120 Henry V, Macbeth, le Iago d'Othello, jouant en virtuose de sa voix, de sa VISAGE prestance, et apportant à ces immen­ ses tragédies une dimension rarement atteinte avant lui. Il ne craint pas, bien souvent, d'interpréter plusieurs rôles dans une même pièce, éclairant ainsi SIR LAURENCE OLIVIER celle-ci d'une lumière toujours nou­ velle: Roméo, puis Mercutio, Iago puis Othello (20 ans plus tard) et Le triomphe de la technique même en alternance, à New York, avec Anthony Quinn, d'un soir à l'autre, les rôles du Roi et de Becket dans la célèbre pièce de Jean Anouilh. Laurence Olivier est né par un 22 sorte de sous-Feydeau allemand. Trois Faut le faire! mai 1907 pluvieux et "venteux. Son ou quatre films encore, puis Holly­ enfance se passe sans problèmes, sauf wood l'appelle pour lui faire jouer le Puis, Laurence est rappelé à que, très vite, son incertitude enfan­ rôle de l'ambassadeur espagnol dans Hollywood pour tenir aux côtés de tine va faire place à une obstination le nouveau film de Greta Garbo, Merle Oberon le rôle de Heathcliff silencieuse que, peu à peu, rien ne Queen Christina: le projet tourne dans Wuthering Heights sous la direc­ pourra plus entamer et qui lui vaudra court parce que Garbo ne fit rien pour tion de William Wyler. Ses débuts plus tard une belle réputation d'égo- l'aider. Elle voulait et eut John Gil­ américains sont couronnés d'un centrique, de monstre d'égoïsme, de bert. Olivier retourne sur les scènes immense succès, et il enchaîne avec mule, de caractère impossible, etc.. londoniennes où il cueille de nouveaux Rebecca, d'après le célèbre roman de alors que, tout simplement, il sait ce lauriers avec les rôles de Roméo, puis Daphné du Maurier, sous la direction qu'il veut, et s'arrange, bien ou mal, Mercutio dans Roméo et Juliette, d'un autre anglais célèbre et qui lui pour l'obtenir. Et il veut faire... du Bothwell dans Queen of Scots. Arthur aussi fait ses permières armes améri­ théâtre, dont il a découvert les affres Rank lui demande alors de jouer le caines: Alfred Hitchcock. Cette et les perverses séductions en jouant premier rôle dans Fire Over England, année-là, aux Academy Awards, (à 13 ans..) Katharina dans La Mégère une petite fresque historique se pas­ Wuthering Heights reçoit les nomina­ apprivoisée de Shakespeare. Malgré sant sous le règne d'Elisabeth et tions comme meilleur film, meilleur l'opposition (silencieuse, elle aussi) de racontant le désastre de l'Invincible metteur en scène, meilleur scénario son pasteur de père, et secrètement Armada. Sa partenaire est une jeune (Ben Hecht) et... on sait la suite: Gone encouragé par les rêves de gloire de et ambitieuse protégée d'Alexandre With the Wind rafle presque tout, y sa mère, il part pour Londres où pen­ Korda, qui finance le film. Elle est compris meilleure actrice (Vivien dant trois ans, il va étudier comme un ravissante, volontaire et... mariée. Leigh). forcené. Un engagement dans les Cette rencontre bouleversera leur vie, Lena Ashwell Players (1925) est rapi­ mais ils devront attendre quatre ans À partir de ce moment, non seu­ dement suivi par un autre, plus con­ avant de pouvoir légaliser une union lement Laurence Olivier, mais le cou­ séquent, au Birmingham Repertory commencée sous le signe de la passion ple est lancé et Olivier partage son Company (1927) où il joue de tout, la plus folle, exceptionnelle dans l'his­ temps dans le cinéma. Il dirigera quel­ de Shakespeare, sa grande passion à toire du théâtre et qui durera jusqu'en ques films qui feront date et y jouera: de petits drames policiers. En 1929, 1960 pour s'achever dans les cendres Henry V, tourné en pleine guerre et il tourne son premier film, The Tem­ et l'amertume. avec des moyens de fortune (1944), porary Widow, pour le compte de la mais qui est d'une audace, d'une ori­ compagnie allemande UFA: c'est la Et il continue. Il ajoute à son ginalité et d'une intelligence bien au- version britannique d'une médiocre répertoire les grands rôles, ceux qui dessus de la moyenne; puis Hamlet comédie de moeurs due à un auteur font (et défont) les réputations: (1947) pour lequel il veut un noir et célèbre à l'époque, Willi Fritsch, une Hamlet (et à Elsinore, s'il vous plaît.), 102 AVRIL 1985 blanc (Henry était en couleurs rutilan­ tradition, Olivier possède plus tes parfaitement appropriées au con­ qu'aucun acteur au monde la faculté, texte), si subtilement dosé que le film non seulement de se rendre mécon­ créera un précédent pour l'étonnante naissable, mais aussi de vivre son atmosphère qu'il réussit à recréer. personnage avec une justesse et une Richard III, en 1954, enfin, où il perfection devant laquelle on reste ajoute à la prestigieuse galerie des rois sans voix. Comparez, si c'est possible, et des personnages de Shakespeare le les rôles suivants: Le Mahdi, arabe sublime portrait du duc de Glouces­ visionnaire dans Khartoum (1966); ter avec une véhémence, une rouerie Archie Rice, lamentable vaudevilliste et un machiavélisme rarement atteint déchu dans The Entertainer (1957), depuis. Il fait aussi venir Marilyn Richard III, servile, agressif et bossu, Monroe, alors Mrs. Miller, pour tenir le Noir mitigé d'arabe dont il a fait le rôle (créé à la scène par Vivien Othello, le lord anglais à l'implacable Leigh) d'Elsie Marina dans la ravis­ vengeance dans Sleuth (1972), le vieux sante pièce de Terence Rattigan The rabbin, père de Neil Diamond dans Prince and the Showgirl, et prouve The Jazz Singer (1980), le savant fou une fois pour toutes la délicatesse, la . nazi dans Marathon Man ( 1976).... Y finesse et le merveilleux talent de a-t-il personnages physiquement, Marilyn, dont ce sera là certainement moralement, socialement et émotive- l'un des meilleurs films. Il dirigera ment plus dissemblables? Et pourtant, enfin, en 1969, pour le compte de on croit à chacun d'eux, je dirais PAmerican Film Theater une remar­ même qu'on ne les imagine même pas quable version des The Three Sisters, autrement une fois qu'on les a vus. de Tchékhov. De 1962 à 1973, il dirige Cabotine-t-il? Étale-t-il sa vie privée les destinées du National Theater of au grand jour et joue-t-il Laurence Great Britain, et c'est pendant ce Olivier à la ville comme à la scène? mandat qu'il visitera Montréal pour Qu'importe. Ce qui compte, c'est son Expo 67. apport exceptionnel à l'Art, et le legs inestimable qu'il nous laissera d'une Quintessence de l'acteur, Olivier personnalité créatrice utilisant au est le dépositaire de génie d'une tra­ maximum les talents éblouissants et la dition théâtrale et dramatique qui remarquable facilité d'interprétation, remonte, au-delà de Shakespeare et issue de la technique et de la tradition. qui a donné au monde, de siècle en C'est certainement l'un des premiers, siècle, les plus grands acteurs et actri­ sinon le plus grand des acteurs de ces de l'histoire humaine, débutant notre temps. Et, Dieu merci, nous ne officiellement avec Burbage, et se con­ manquerons pas de preuve pour con­ tinuant avec Garrick, Kean, Beer- vaincre les incrédules et les généra­ bohm Tree, Patricia Campbell, Lewis tions à venir. Films, vidéos et cinémas et Sybil Thorndyke, Marius Goring, de répertoire sont là pour vous per­ Pamela Brown, Peggy Ashcroft (qui mettre de « juger sur pièces », comme est en train de faire un malheur dans on dit. Au moins pourra-t-on recon­ la série télévisée The Jewels of the naître le bien-fondé de ces commen­ Crown), John Gielgud et Maggie taires puisque ces preuves seront Smith, et tant d'autres qui ont porté disponibles sans problèmes. La pos­ la renommée du théâtre britannique térité sera bien servie car les témoigna­ au-delà du temps et de l'espace. ges abondent. Patrick Schupp Héritier donc de cette prestigieuse Marathon Man 103 .
Recommended publications
  • Michael Powell and Emeric Pressburger, a MATTER of LIFE and DEATH/ STAIRWAY to HEAVEN (1946, 104 Min)
    December 8 (XXXI:15) Michael Powell and Emeric Pressburger, A MATTER OF LIFE AND DEATH/ STAIRWAY TO HEAVEN (1946, 104 min) (The version of this handout on the website has color images and hot urls.) Written, Produced and Directed by Michael Powell & Emeric Pressburger Music by Allan Gray Cinematography by Jack Cardiff Film Edited by Reginald Mills Camera Operator...Geoffrey Unsworth David Niven…Peter Carter Kim Hunter…June Robert Coote…Bob Kathleen Byron…An Angel Richard Attenborough…An English Pilot Bonar Colleano…An American Pilot Joan Maude…Chief Recorder Marius Goring…Conductor 71 Roger Livesey…Doctor Reeves Robert Atkins…The Vicar Bob Roberts…Dr. Gaertler Hour of Glory (1949), The Red Shoes (1948), Black Narcissus Edwin Max…Dr. Mc.Ewen (1947), A Matter of Life and Death (1946), 'I Know Where I'm Betty Potter…Mrs. Tucker Going!' (1945), A Canterbury Tale (1944), The Life and Death of Abraham Sofaer…The Judge Colonel Blimp (1943), One of Our Aircraft Is Missing (1942), 49th Raymond Massey…Abraham Farlan Parallel (1941), The Thief of Bagdad (1940), Blackout (1940), The Robert Arden…GI Playing Bottom Lion Has Wings (1939), The Edge of the World (1937), Someday Robert Beatty…US Crewman (1935), Something Always Happens (1934), C.O.D. (1932), Hotel Tommy Duggan…Patrick Aloyusius Mahoney Splendide (1932) and My Friend the King (1932). Erik…Spaniel John Longden…Narrator of introduction Emeric Pressburger (b. December 5, 1902 in Miskolc, Austria- Hungary [now Hungary] —d. February 5, 1988, age 85, in Michael Powell (b. September 30, 1905 in Kent, England—d. Saxstead, Suffolk, England) won the 1943 Oscar for Best Writing, February 19, 1990, age 84, in Gloucestershire, England) was Original Story for 49th Parallel (1941) and was nominated the nominated with Emeric Pressburger for an Oscar in 1943 for Best same year for the Best Screenplay for One of Our Aircraft Is Writing, Original Screenplay for One of Our Aircraft Is Missing Missing (1942) which he shared with Michael Powell and 49th (1942).
    [Show full text]
  • Text Pages Layout MCBEAN.Indd
    Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous.
    [Show full text]
  • The Physician at the Movies Peter E
    The physician at the movies Peter E. Dans, MD Geoffrey Rush, Colin Firth (as Prince Albert/King George VI), and Helena Bonham Carter in The King’s Speech (2010). The Weinstein Company,/Photofest. The King’s Speech helphimrelaxhisvocalcordsandtogivehimconfidencein Starring Colin Firth, Geoffrey Rush, Helena Bonham Carter, anxiousmoments.Heisalsotoldtoputpebblesinhismouth Guy Pearce, and Derek Jacobi. like Demosthenes was said to have done to speak over the Directed by Tom Hooper. Rated R and PG. Running time 118 waves.Allthatdoesismakehimalmostchoketodeath. minutes. His concerned wife, Elizabeth (Helena Bonham Carter), poses as a Mrs. Johnson to enlist the aid of an unorthodox box-officefavoritewithanupliftingcoherentstorywins speechtherapist,LionelLogue,playedwithgustobyGeoffrey the Academy Award as Best Picture. Stop the presses! Rush. Firth deserved his Academy Award for his excellent AThefilm chronicles the transformation of the Duke of York job in reproducing the disability and capturing the Duke’s (ColinFirth),wholookslike“adeerintheheadlights”ashe diffidence while maintaining his awareness of being a royal. stammers and stutters before a large crowd at Wembley Still,itisRushwhomakesthemoviecomealiveandhasthe StadiumattheclosingoftheEmpireExhibitionin1925, best lines, some from Shakespeare—he apologizes to Mrs. J tohisdeliveryofaspeechthatralliesanationatwar fortheshabbinessofhisstudiowithalinefromOthellothat in1939.Thedoctorswhoattendtowhattheycall being“poorandcontentisrich,andrichenough.”Refusingto tongue-tiednessadvocatecigarettesmokingto
    [Show full text]
  • English Productions of Measure for Measure on Stage and Screen
    English Productions of Measure for Measure on Stage and Screen: The Play’s Indeterminacy and the Authority of Performance Thesis submitted for the degree of Doctor of Philosophy at the Department of English and Creative Writing Lancaster University March, 2016 Rachod Nusen Declaration I declare that this thesis is my own work, and has not been submitted in substantially the same form for the award of a higher degree elsewhere. Acknowledgements First and foremost, I would like to express my deepest gratitude to my supervisor, Professor Alison Findlay. Without her advice, kindness and patience, I would be completely lost. It is magical how she could help a man who knew so little about Shakespeare in performance to complete this thesis. I am forever indebted to her. I am also indebted to Dr. Liz Oakley-Brown, Professor Geraldine Harris, Dr. Karen Juers-Munby, Dr. Kamilla Elliott, Professor Hilary Hinds and Professor Stuart Hampton-Reeves for their helpful suggestions during the annual, upgrade, mock viva and viva panels. I would like to acknowledge the Shakespeare Centre Library and Archive, the National Theatre Archive, the Shakespeare’s Globe Library and Archives, the Theatre Collection at the University of Bristol, the National Art Library and the Folger Shakespeare Library on where many of my materials are based. Moreover, I am extremely grateful to Mr. Phil Willmott who gave me an opportunity to interview him. I also would like to take this opportunity to show my appreciation to Thailand’s Office of the Higher Education Commission for finically supporting my study and Chiang Mai Rajabhat University for allowing me to pursue it.
    [Show full text]
  • TPTV Schedule Dec 17Th - 23Rd 2018
    TPTV Schedule Dec 17th - 23rd 2018 DATE TIME PROGRAMME SYNOPSIS Mon 17 6:00 Curtain Up 1952. Comedy. Directed by Ralph Smart. Stars Robert Morley, Margaret Dec 18 Rutherford, Kay Kendall & Michael Medwin. A stage director clashes with the author of a play being done by a little theatre group. Mon 17 7:40 Stagecoach West The Bold Whip. Wayne Rogers & Robert Bray run a stagecoach line in Dec 18 the Old West, where they come across a wide variety of killers, robbers and ladies in distress. Mon 17 8:40 Buffalo Bill 1944. Western. Director: William A Wellman. Stars Joel McCrea, Dec 18 Maureen O'Hara, Anthony Quinn & Linda Darnell. The story of William 'Buffalo Bill' Cody, legendary westerner. Mon 17 10:30 BFI: Post Early for 1951. Animation. This delightful silhouette animation may not be the Dec 18 Christmas most logical argument for helping the Post Office out, but who cares when it's so charmingly packaged. Mon 17 10:35 King Solomon's 1937. Adventure. Director Robert Stevenson. Stars Paul Robeson, Dec 18 Mines Cedric Hardwicke & Anna Lee. Kathy's father is intrigued by the stories about Solomon's diamond mines. So he steals away in the night. Mon 17 12:15 Gaolbreak 1962. Directed by Francis Searle and starring Peter Reynolds, Avice Dec 18 Landon and David Kernan. A mother and her two sons run a newsagents as a front for their criminal activity. Mon 17 13:30 Early One Morning 1937. Classic Swedish documentary by Gosta Roosling about an early Dec 18 morning Christmas service in a country church.
    [Show full text]
  • The Inventory of the Irene Worth Collection #1649
    The Inventory of the Irene Worth Collection #1649 Howard Gotlieb Archival Research Center Worth, Irene 12/11/02; 1/17 /03 Preliminary Listing I. Audio Materials. Box 1 A. Reel-to-Reels. 1. "Roshmersholm," 7 inch. 2. "E.P. EAF71," 7 inch. 3. "I.W. - 333 w56 NYCI0019," 7 inch. 4. Unlabeled, 5 inch. 5. "IW reading poetry, 7/27/1979," 2 reels, parts I and 2, 7 inch. B. Audio Cassettes. 1. "Chere Maitre;" 12/17-19/1998; 4 total (includes 5 ½ inch floppy disk, 12/15/1998). 2. "Gypsy and the Yellow Canary." a. 2/29/1996, 2 copies. b. Master copy. c. Pre-show master. 3. "Tango Argentina," Trio Hugo Diaz; 1993. 4. "Early Cante Flamenco;" 1990. 5. "La Edad De Oro Del Flamenco." 6. "18th Century Flute Concerti," works by various artists. 7. "Rachmaninov." , a. "Suite No. 17 Opus." b. "Suite." c. "Suite No. 2 Opus," 2 tapes, 3/7/94; includes untitled mini- disc. d. "Works for four hands or two pianos." e. "Mike and Ralph." f. "Tape 3." 8. "Joao Bosco, Giberto." 9. "7-Blind Geronimo Theme." 10. "Tobias Flanders Kirchwy;" 1994. 11. "Tango," Julio Iglesias; 1996. 12. "Flamenco Singers." 13. "Encoutros E Despedidas." 14. "Los Panscho and Met." 15. "Brahms: Piano Concerto No. 1," 2 copies. 16. "Bairagi Bhairau." 17. "Situr Ravi Shakev." 18. "194 7-The Adventures of Sherlock Holmes." 19. "Peter Eyre.". Page I of 29 20. "Irene Randell, Peter Sellers." 21. "Gwen and Clive." 22. "Tribute Ellen," text from IW, 150th Anniversary; 1998. 23. "An Evening with IW;" 6/7/1990.
    [Show full text]
  • The Taming of the Shrew
    Education Pack The Taming of the Shrew Directed by Edward Hall Designed by Michael Pavelka Lighting by Mark Howland and Ben Ormerod Pack compiled by Will Wollen Thanks to the cast and creative team Contents To Teachers 3 Credits 4 Synopsis 5 Main Characters 6 William Shakespeare 7 Source of the Story 8 - 9 Interview with Edward Hall – Director 10 – 11 Interview with Michael Pavelka – Designer 12 - 14 Interview with Simon Scardifield – Katherina 15 - 17 Interview with Dugald Bruce-Lockhart – Petruchio 18 - 19 Other important productions 20 - 23 Views on the Shrew 24 – 25 Design exercise 26 Cue script exercise 27 - 31 Katherine’s final speech 32 Attitudes towards Women in Shakespeare’s time 33 2 To Teachers This pack has been designed to complement your class’s visit to see Propeller’s 2006-7 production of The Taming of the Shrew at The Watermill Theatre, The Old Vic, the RSC Complete Works Festival and on national and international tour. Most of the pack is aimed at A-level and GSCE students of Drama and English Literature, but some of the sections, and suggestions for classroom activities, may be of use to teachers teaching pupils at Key Stages 2, 3 & 4, while students in higher education may find much of interest in these pages. While there are some images, the pack has been deliberately kept simple from a graphic point of view so that most pages can easily be photocopied for use in the classroom. Your feedback is most welcome. You can email any comments to me at: [email protected] A3 Posters from The Watermill production are available for purchase at £4 (inc.
    [Show full text]
  • Speaking of the ESU Newsletter September to November the English Speaking Union 2019 of New York
    Speaking of the ESU Newsletter September to November The English Speaking Union 2019 of New York Dear Fellow ESU New York Branch Members, National Patrons With the summer of 2019 winding down, we turn our attention back to The ESU New York Branch acknowledges the ESU New York Branch and what the fall season will bring. Again, and thanks the following individuals for their the Branch will offer generous support in this fiscal year 2019-20, monthly Mystery Book ending June 30, as members of the ESU Cub meetings (see calendar for titles the National Patron Program. List complete as of group will read), and June 30, 2019. the ESU Players are pulling together a Mr. Matthew Barhydt series of staged Dr. Paul Beresford-Hill CBE KSt.J readings of plays that Ms. Alice Boyne will continue to engage Ms. Virginia Brody a diverse group, including current and former ARNIC (Andrew Romay Miss Barbara Deacon New Immigrant Center) members, with the English language. Ms. Alta Devivo In addition to these regularly scheduled members’ events, there will be a Dr. and Mrs. Charles Hesdorffer few lectures as well as a film screening, and a special curated tour of the Dr. and Mrs. Dentcho Ivanov Treasures from Chatsworth: The Exhibition at Sotheby’s. The Branch is Ms. Rossana Ivanova and Mr. Pierre Swart continuing its partnerships with the Art Deco Society of New York, Mr. Duncan Karcher Royal Oak Foundation and Historic Royal Palaces. And in December, Ms. Marjorie Kennedy (save the date: December 5, 2019) we will hold our annual Yuletide Mrs.
    [Show full text]
  • ACTA UNIVERSITATIS LODZIENSIS Pawei Mastalerz THE
    ACTA UNIVERSITATIS LODZIENSIS FOIJA LITTERARIA ANGLICA 1, 1997 Pawei Mastalerz THE PRESENTATION OF KING LEAR IN THREE PRODUCTIONS BY THE RSC In this study I would like to examine the part of King Lear in three productions of King Lear staged by the Royal Shakespeare Company in Stratford-upon-Avon: George Devine’s production in 1953, Glen Byam Shaw’s production in 1959, and Peter Brook’s production in 1962. D u­ ring that time there were also other performances of King Lear in En­ gland but not in Stratford and that is why I will not include them in my presentation. I carried out some research at The Shakespeare Centre Library in Stratford-upon-Avon. Since none of the above mentioned performances was recorded or filmed I could only rely on newspaper reviews of first nights, arranged and collected chronologically by the Library, as they appeared in various newspapers,1 original Royal Shakes­ peare Company prompt-books, available at the library, and books and articles commenting on and analysing the three productions. I also ana­ lysed production photos and slides stored at The Shakespeare Centre Library. King Lear entered the twentieth century mauled and misinterpreted. The text was regarded as one of the greatest of literary achievements, but the play had fallen victim to incompetence and misunderstanding which kept its potential powers hidden and waiting to be discovered. The shape of the play after the Second World War, however, was greatly influenced by two critics: A. C. Bradley and H. Granville-Barker. Their interpretations of the play and its main protagonist discarded the old nineteenth century traditions of playing the part of Lear and opened ways for new modern interpretative possibilities.
    [Show full text]
  • The Romanian Bard: a Case Study of Shakespeare's Adaptations In
    The Romanian Bard 106 DOI: 10.2478/abcsj-2013-0007 The Romanian Bard: A Case Study of Shakespeare’s Adaptations in Contemporary Romania DANA PERCEC and ANDREEA ŞERBAN West University of Timişoara Abstract In Romania, Shakespeare played an important role in the construction of Romania’s cultural identity and in the reshaping of political awareness during the communist dictatorship. In recent years, the Bard’s work has been translated into a contemporary, accessible Romanian language, with theatrical or musical adaptations targeted at a public whose tastes are shaped by popular culture. The authors discuss, from this perspective, two recent adaptations: The Taming of the Shrew (2005), acclimatized to contemporary Romanian realities (names, locations and folk music), and Romeo and Juliet (2009) that relocates the tragedy in the musical genre. The choice of two musical genres popular with the most widely spread segments of the public – the conservative, but less educated middle-aged group of non-theatre-goers and the youth – indicates an attempt, still new for the Romanian cultural market, to accommodate Shakespeare to the interests of two different communities of consumers, so far absent from this country’s high culture circuit. Keywords: William Shakespeare, adaptation, assimilation, Romania, local culture, theatre Introduction The field of Shakespeare studies has, in the past decade, gained a new dimension in Romania. The notion of appropriation has become attractive for Romanian scholars, who see the advantages of an intercultural approach in the analysis of Shakespeare’s reception. Looking into the dynamics of the contact between the mainstream and the sub-culture, between the national and the global identity, but also between the 107 The Romanian Bard international and the local/ regional culture, has been a fruitful line of theoretical investigation recently.
    [Show full text]
  • The Shakespearean Performances of Sir John Gielgud
    University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. 2nd of 2 files Chapters 4-6 Appendices and Bibliography THE SHAKESPEAREAN PERFORMANCES OF SIR JOHN GIELGUD by Robert James Frost Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy of the University of Birmingham. The Shakespeare Institute October 1983 243 CHAPTER FOUR MUCH ADO ABOUT NOTHING Much Ado About Nothing is to be distinguished from the other comedies of Shakespeare that are its nearest contemporaries because of its concern with one circumscribed social unit. Unlike As You Like It,Twelfth Night, The Merchant of Venice and A Midsummer Night's Dream,which play off different kinds of worlds against each other, the problems arising in one being resolved by a retreat to the next or alternatively by a foreign visitor, the action of Much Ado About Nothing is focussed on a single, indigenous group. (That Don Pedro,strictly speaking,is an outsider from Aragon seems less important than the fact that he and the other guests freely interact with Leonato's household, making themselves at home there.) If the intervention of Dogberry and the Watch is required to restore harmony, then Dogberry, although of a different class, is quite clearly part of the civic life of Messina.
    [Show full text]
  • The English Theatre Studios of Michael Chekhov And
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/57044 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. The English Theatre Studios of Michael Chekhov and Michel Saint-Denis, 1935-1965 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature Thomas Cornford, University of Warwick, Department of English and Comparative Literary Studies May 2012 1 Contents List of illustrations........................................................................................... 4 Declaration..................................................................................................... 8 Abstract........................................................................................................... 9 Preface............................................................................................................ 10 Introduction 1 The Theatre Studio in Context........................................ 12 Introduction 2 Chekhov and Saint-Denis in Parallel............................... 28 Section 1 The Chekhov Theatre Studio at Dartington, 1936- 1938...............................................................................
    [Show full text]