Titlebook: Watching Shakespeare; A Playgoers‘ Guide Anthony B. Dawson Book 1988 Palgrave Macmillan, a division of Macmillan Publishers Limited 1988 Ha

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Henry IV, Part 2, well. This tends to restrict it to festivals and repertory performance and gives it a peculiar status as an only partially independent play. Furthermore, its relation to . is problematic — in some respects it continues the action of the first play, and in others it replays that action in a minor ke

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Julius Caesar, dramatic-society blandness of Roman togas, declamation and statuesque postures. The play, for us, was about ‘the politics of men’ and hence was only superficially Roman. Accordingly, we transferred the locale to an unspecified Latin American country, and turned the assassination of Caesar into an a

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Consequence

Hamlet,s to a safety curtain and providing the actors with a video camera which they trained on themselves and others. The resulting fragmentation underscored the point of the production, and was enhanced by the splitting of the main part, which was played by two separate actors. One of these, a physical a

watertight,

Romeo and Juliet,ons — operas, oratorios, ballets, musicals. None has quite caught the imaginations or the heartstrings of so many generations, and probably only one play, ., has been so often quoted. Since the eighteenth century, when it was played in Garrick’s sentimentalized version (complete with a . colloquy be

Harass

Othello,ything but scorn. During the nineteenth century, . was a huge favourite, its heightened language, passionate feelings and exotic lure lending themselves admirably to the lavish and extravagant style of playing characteristic of the period. Verdi based what most critics consider his masterpiece on it

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Classify

King Lear,o big for theatrical representation, declaring among other things that the ‘contemptible machinery by which they mimic the storm’ is no more adequate ‘to represent the horrors of the real elements, than any actor can be to represent Lear’.. Since Lamb’s time, and especially since the Second World Wa

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Protein

Macbeth,ect it because of the ill fate that so often attends it.. And directors who have taken it on have frequently run into trouble with illness, broken limbs or outright disaster. Nevertheless it is a popular, well-known play and is often produced. Perhaps superstition bows to economic exigency or artist