Lear from Study to Stage: Essays in CriticismJames Ogden, Arthur Hawley Scouten Fairleigh Dickinson Univ Press, 1997 - 305 pages The late William Ringler, Jr. and James Ogden examine the theatrical tradition from Shakespeare's time to the nineteenth century. The history of literary criticism to Bradley and beyond is sketched in the introduction, and recent criticism is described in more detail by Richard Levin. Carol Rutter's essay on the women characters in the play is inspired partly by feminist criticism and partly by recent productions. The productions of the last thirty years are covered by theater critic Benedict Nightingale, and the major film versions by Anthony Davies and Stephen Phillips. Finally, Stuart Sillars presents a "visual history," an account of artistic responses that suggests further possibilities for both research and teaching. |
From inside the book
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Page 14
... forces into battle against the French . Shakespeare avoids the embarrassment of a British defeat , and shifts the Lear story toward tragedy , by allowing Edmund and Albany to win and by having Edmund order the murders of Lear and ...
... forces into battle against the French . Shakespeare avoids the embarrassment of a British defeat , and shifts the Lear story toward tragedy , by allowing Edmund and Albany to win and by having Edmund order the murders of Lear and ...
Page 22
... force the people to build the wall , and he personally kills a workman who is accused of sabotage . He cannot see that he is buying security at the expense of human- ity . As in Shakespeare , Lear's wicked daughters deceive their father ...
... force the people to build the wall , and he personally kills a workman who is accused of sabotage . He cannot see that he is buying security at the expense of human- ity . As in Shakespeare , Lear's wicked daughters deceive their father ...
Page 48
... forces . Scholars have nearly unanimously argued that this play underwent authorial revision , and their assertions have , surprisingly , never produced cries of disintegration , probably be- cause the Quarto and Folio texts were ...
... forces . Scholars have nearly unanimously argued that this play underwent authorial revision , and their assertions have , surprisingly , never produced cries of disintegration , probably be- cause the Quarto and Folio texts were ...
Page 50
... force but Shakespeare's own artistic demands for the theatrical rather than literary presentation of the play . For the revisionists , the Folio does not represent a text redacted for the purposes of appealing to a literary audience but ...
... force but Shakespeare's own artistic demands for the theatrical rather than literary presentation of the play . For the revisionists , the Folio does not represent a text redacted for the purposes of appealing to a literary audience but ...
Page 53
... force in the most recent editions of King Lear , whether presented in print or on stage . The editors of the 1986 Oxford Complete Works , Stanley Wells , Gary Taylor , John Jowett , and William Montgomery , print the edited Quarto and ...
... force in the most recent editions of King Lear , whether presented in print or on stage . The editors of the 1986 Oxford Complete Works , Stanley Wells , Gary Taylor , John Jowett , and William Montgomery , print the edited Quarto and ...
Contents
31 | |
45 | |
57 | |
A Case for Conflation | 79 |
Textual Revision and the Fool in King Lear | 109 |
Some Remarks on King Lear | 123 |
Lears Blasted Heath | 135 |
King Lear Defamiliarized | 146 |
Eel Pie and Ugly Sisters in King Lear | 172 |
Some Recent Productions | 226 |
King Lear on Film | 247 |
Akira Kurosawas Ran | 267 |
Toward a Visual History | 278 |
Contributors | 297 |
Index | 299 |
Other editions - View all
Common terms and phrases
actors Adrian Noble Albany Albany's argued Armin audience authorial revision authority Brook's Cambridge camera character conflation Cordelia Cornwall critics daughters dead death director Division Dover dramatic Edgar edition editors Edmund essay eyes father feel feminist figure film Folio text Fool Fool's foul papers Gary Taylor Gloucester Gloucester's Goneril Goneril and Regan Hamlet heath Hidetora History of King Hytner's interpretation Kent King Lear kingdom Kozintsev Kurosawa Lear's lines London look Marxist Michael Warren mock trial Nicholas Hytner omissions opening scene Oxford painting patriarchal performance Peter Brook play's political printed production promptbook Q and F Quarto and Folio reading revisionists Robert Armin role Royal Shakespeare Company seems Shake Shakespeare Shakespeare's play Shakespeare's text sisters speak speare speare's speech stage direction storm suggest Tate Tate's Texts of King textual theater theatrical thou tion tragedy University Press Urkowitz visual women words
Popular passages
Page 27 - The weight of this sad time we must obey ; Speak what we feel, not what we ought to say. The oldest hath borne most : we, that are young, Shall never see so much, nor live so long.
Page 24 - I'll kneel down, And ask of thee forgiveness; so we'll live, // And pray, and sing, and tell old tales, and laugh At gilded butterflies, and hear poor rogues Talk of court news; and we'll talk with them too, Who loses and who wins; who's in, who's out; And take...
Page 49 - I remember the players have often mentioned it as an honour to Shakespeare, that in his writing (whatsoever he penned) he never blotted out a line. My answer hath been, "Would he ' had blotted a thousand," which they thought a malevolent speech.
Page 271 - Poor naked wretches, wheresoe'er you are, That bide the pelting of this pitiless storm, How shall your houseless heads and unfed sides, Your loop'd and window'd raggedness, defend you From seasons such as these ? O, I have ta'en Too little care of this ! Take physic, pomp ; Expose thyself to feel what wretches feel, That thou mayst shake the superflux to them, And show the heavens more just.
Page 117 - Lear. My wits begin to turn. Come on, my boy : how dost, my boy ? art cold ? I am cold myself. Where is this straw, my fellow? The art of our necessities is strange, That can make vile things precious.
Page 119 - Through tatter'd clothes small vices do appear ; Robes, and furr'd gowns, hide all. Plate sin with gold, And the strong lance of justice hurtless breaks : Arm it in rags, a pigmy's straw doth pierce it.
Page 131 - O pity! Sir, where is the patience now That you so oft have boasted to retain? EDGAR: (Aside) My tears begin to take his part so much, They mar my counterfeiting.
Page 93 - Lear. Then let them anatomize Regan ; see what breeds about her heart. Is there any cause in nature that makes these hard hearts?
References to this book
Inside the Royal Shakespeare Company: Creativity and the Institution Colin Chambers No preview available - 2004 |