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Titlebook: Romeo and Juliet; Peter Holding Textbook 1992Latest edition Macmillan Publishers Limited 1992 1989.death.drama.knowledge.language.love.per

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發(fā)表于 2025-3-21 18:41:58 | 只看該作者 |倒序瀏覽 |閱讀模式
書目名稱Romeo and Juliet
編輯Peter Holding
視頻videohttp://file.papertrans.cn/832/831753/831753.mp4
叢書名稱Text and Performance
圖書封面Titlebook: Romeo and Juliet;  Peter Holding Textbook 1992Latest edition Macmillan Publishers Limited 1992 1989.death.drama.knowledge.language.love.per
描述Peter Holding places Romeo and Juliet in the context of Shakespeare‘s early plays and examines its relationship to the Petrarchan sonnet tradition. Part 1 considers the play‘s language, imagery, its themes of love and death and examines the challenges to be faced in its production. Part 2 looks in detail at five major productions: Franco Zeffirelli (1961), Terry Hands (1973), Trevor Nunn and Barry Kyle (1976), Michael Bogdanor (1986) and Terry Hands (1989). A fascinating study, combining close attention to the text with an awareness of its experimental theatricality.
出版日期Textbook 1992Latest edition
關(guān)鍵詞1989; death; drama; knowledge; language; love; performance; play; theatre; tradition; William Shakespeare
版次1
doihttps://doi.org/10.1007/978-1-349-11363-7
copyrightMacmillan Publishers Limited 1992
The information of publication is updating

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https://doi.org/10.1007/978-1-349-11363-71989; death; drama; knowledge; language; love; performance; play; theatre; tradition; William Shakespeare
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Language and ImageryThe close affinity between much of the poetry of . and the highly wrought artifice of the Petrarchan sonnet can best be illustrated by a brief extract:
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發(fā)表于 2025-3-22 09:57:32 | 只看該作者
Introductioncontemporary account, the two versions, Shakespeare’s and Howard’s, were ‘Play’d Alternately, Tragical one Day, and Tragicomical another; for several Days together’. Such adaptations of various Elizabethan tragedies were popular after the Restoration but there is an interesting appropriateness in ch
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Conclusion: Word and Imagemost certainly had some serious consequences which may well have distorted our perception of the play. To some extent the difficulties faced by modern audiences may be attributed to the inevitable changes in theatrical taste which affect any of Shakespeare’s plays. For example, in his New Penguin ed
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Franco Zeffirelli, Old Vic Theatre, 1961alents as a designer of atmospheric Italian settings for . as by his skills as a director. Zeffirelli set about stripping away the accretions of outdated romantic conventions of acting and staging in an attempt to bring the play to life for a modern, primarily young, audience. His aim was to achieve
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