This edition of The Tempest is the first dedicated to its stage history. Dymkowski examines four centuries of mainstream, regional, and fringe productions in Britain, nineteenth- and twentieth-century American stagings, and recent Australian, Canadian, French, Italian, and Japanese productions. She analyses the cultural significance of changes in theatrical representation, eg. when and why Caliban began to be represented by a black actor, and Ariel became a man's role rather than a woman's. The commentary annotates each line of the play with details about acting, setting, textual alteration and contemporary reception.
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actors Adrian Alice Krige Alonso Antonio appeared archive video Ariel audience Ayrton Benedict Nightingale Benthall Benthall's Billington Boatswain Bogdanov's Bridges-Adams Brook's Caliban Ceres changed character costume courtiers Coveney Cut by Garrick Daily Telegraph Daly cut Daniels's Prospero directors Donnellan's dressed Dryden/Davenant and Shadwell entered exited Ferdinand Gielgud Gonzalo Hack cut Hall's hand Hippolito Hytner's Hytner's Prospero Iden Payne interpolated island Jacobean John Juno Kean Kean cut Kean's Kemble lines London looked lords Macready Macready's magic mariners masque Mendes's Michael Michael Billington Miller's Miranda Miranda and Ferdinand monster Ninagawa's nymphs off-stage performance Phelps Phelps's play production Prospero Prospero spoke Purcarete's respectively reviewer Salisbury Playhouse sang scene Sebastian Shakespeare's ship singing song speech spirits stage Stephano Stephano and Trinculo storm Stratford Stratford pb Strehler's Sycorax Tempest Tempest at Salisbury Thacker's Theatre theatrical thee thou thunder Tree's Trewin Trinculo versions Wardle Williams Williams's
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