John Barrymore, Shakespearean ActorCambridge University Press, 1997 - 398 Seiten John Barrymore's Richard III and Hamlet, first seen in New York during the 1919-20 and 1922-23 seasons, stand as high-water marks of twentieth-century Shakespearean interpretation. Michael Morrison reconstructs these historic performances through analysis of the production preparation, audience response, reviews, and memoirs. Tracing the Victorian and Edwardian antecedents of Shakespearean performance, this book situates Barrymore's distinctive contribution in light of past and ensuing tradition. As well, it provides a biographical sketch of one of the most revered and tragic actors of the twentieth century. "This young artist, profiting by the lessons of tradition...casts it boldly aside and emerges into the rarefied atmosphere of a new art, greater because it is new, stronger because it is built upon an old foundation." Brooklyn Times, March 9, 1920 |
Im Buch
Ergebnisse 1-5 von 81
Seite x
... Barrymore's performances : He was the first actor to bring the vocal and physical manner of a postwar gentleman to Shakespeare's tragic protagonists ; he was the first to reinterpret time - honored roles in light of modern psychological ...
... Barrymore's performances : He was the first actor to bring the vocal and physical manner of a postwar gentleman to Shakespeare's tragic protagonists ; he was the first to reinterpret time - honored roles in light of modern psychological ...
Seite xi
... Barrymore and his associates inherited . Chap- ter 1 looks at Barrymore's family background and formative influences and discusses his years on the stage between 1903 and 1919 while examining the forces that shaped him as an actor ...
... Barrymore and his associates inherited . Chap- ter 1 looks at Barrymore's family background and formative influences and discusses his years on the stage between 1903 and 1919 while examining the forces that shaped him as an actor ...
Seite 3
... Barrymore's Shakespearean debut in Richard III . Many in the audience that night were skeptical of Barrymore's ability to succeed . Although he had achieved noteworthy triumphs in dramatic roles beginning with his appear- ance in ...
... Barrymore's Shakespearean debut in Richard III . Many in the audience that night were skeptical of Barrymore's ability to succeed . Although he had achieved noteworthy triumphs in dramatic roles beginning with his appear- ance in ...
Seite 4
... Barrymore's production made Hamlet seem like " a new play . " 1 The Barrymore revivals constituted a theatrical revolution , one that swept aside the modified version of the nineteenth - century “ grand manner ” that a number of leading ...
... Barrymore's production made Hamlet seem like " a new play . " 1 The Barrymore revivals constituted a theatrical revolution , one that swept aside the modified version of the nineteenth - century “ grand manner ” that a number of leading ...
Seite 31
... Barrymore's creative urgings stirred his will to action and prompted him to seek perfection in his art at the same moment the American stage began its own rapid surge to maturity . A more compelling reason for his transformation , and a ...
... Barrymore's creative urgings stirred his will to action and prompted him to seek perfection in his art at the same moment the American stage began its own rapid surge to maturity . A more compelling reason for his transformation , and a ...
Inhalt
The Education of an Actor 18821919 | 32 |
The Productions | 67 |
Richard III 1920 | 69 |
Hamlet 19221924 | 122 |
The London Hamlet 1925 | 242 |
Aftermath | 261 |
Shakespeare in Hollywood 19251942 | 263 |
Epilogue | 299 |
Appendixes | 307 |
The Casts | 309 |
The Texts | 323 |
Notes | 331 |
385 | |
393 | |
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17 November acting actor Adams Alexander Woollcott American appeared April Arthur Hopkins artistic audience Barry Barrymore's Barrymore's performance Blanche Yurka Broadway cast chair character Clown comedy costumes critics debut decade December drama Edwin Booth exit Fay Compton February film Forbes-Robertson Fowler Gene Fowler Ghost Guildenstern Hamlet Hampden Henry Hollywood Hopkins's Horatio house curtain Irving January John Barrymore Jones's King Laertes left center letter to Michael lights Lincoln Center lines London lord Macbeth mainstage mance Marcellus March Margaret Carrington Michael Strange noted Ophelia Osric platform play Player Polonius production promptbook Queen radio rehearsals repertory replies revival Richard Richard III right center Robert Edmond Jones role Rosencrantz scene second season Shakespeare Shakespearean Sheldon soliloquy Soon afterward Sothern and Marlowe speak speech steps Studybook Sweet Prince Taylor tells Theatre Collection theatrical throne tion tour tradition turns UCB/SC upstage voice weeks William Woollcott wrote York