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 |
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Seite 7
... voice was almost universally praised for its range and beauty . Booth was gifted with brooding , poetic good looks and expressive eyes and features ; his characterizations were illuminated by penetrating intellec- tual and spiritual ...
... voice was almost universally praised for its range and beauty . Booth was gifted with brooding , poetic good looks and expressive eyes and features ; his characterizations were illuminated by penetrating intellec- tual and spiritual ...
Seite 9
... voice not noted for its music , he acted with a compelling intensity that had a mesmeric power on his audi- ences . Barrymore would not have had an opportunity to see Irving's Richard III - his later assertion to his biographer , Gene ...
... voice not noted for its music , he acted with a compelling intensity that had a mesmeric power on his audi- ences . Barrymore would not have had an opportunity to see Irving's Richard III - his later assertion to his biographer , Gene ...
Seite 10
... voice of exceptional range ; contemporary critics often said that his acting failed to reach " the loftier heights. Figure 3. Richard Mansfield as Richard III . Author's collection . Figure 4. Johnston Forbes - Robertson as Hamlet ...
... voice of exceptional range ; contemporary critics often said that his acting failed to reach " the loftier heights. Figure 3. Richard Mansfield as Richard III . Author's collection . Figure 4. Johnston Forbes - Robertson as Hamlet ...
Seite 11
... voice might well have influenced Barrymore's decision to undertake vocal training prior to his own Shakespearean debut . He was aware that Mansfield's impersonation , last seen in New York during the 1905-6 season , had set a high ...
... voice might well have influenced Barrymore's decision to undertake vocal training prior to his own Shakespearean debut . He was aware that Mansfield's impersonation , last seen in New York during the 1905-6 season , had set a high ...
Seite 12
... voice with the tone of an organ . " From first to last , wrote Pearson , his Hamlet was " perfectly natural , nobly well - bred , ideally graceful , flawlessly spoken , and so charming that one could see it again and again ... yet never ...
... voice with the tone of an organ . " From first to last , wrote Pearson , his Hamlet was " perfectly natural , nobly well - bred , ideally graceful , flawlessly spoken , and so charming that one could see it again and again ... yet never ...
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