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 15
... storm scenes , though he reinforced the idea that these scenes are a kind of dark night of the soul for the King himself . He contrived an ending in which Edgar and Cordelia are betrothed , Lear is restored to his kingdom , INTRODUCTION 15.
... storm scenes , though he reinforced the idea that these scenes are a kind of dark night of the soul for the King himself . He contrived an ending in which Edgar and Cordelia are betrothed , Lear is restored to his kingdom , INTRODUCTION 15.
Page 17
... storm scene ridiculous . Kean restored the tragic ending in 1823 , and claimed that in so doing he had been influ- enced by " men of literary eminence from the time of Addison " ; but he was again influenced by considerations of theater ...
... storm scene ridiculous . Kean restored the tragic ending in 1823 , and claimed that in so doing he had been influ- enced by " men of literary eminence from the time of Addison " ; but he was again influenced by considerations of theater ...
Page 19
... storm scenes are appreciated , even if they remain difficult to get across in the theater . Here the principal characters are the Fool , Edgar dis- guised as a Bedlamite beggar , and Lear himself . The Fool is a professional jester ...
... storm scenes are appreciated , even if they remain difficult to get across in the theater . Here the principal characters are the Fool , Edgar dis- guised as a Bedlamite beggar , and Lear himself . The Fool is a professional jester ...
Page 21
... storm was on the way . And far from sustaining the gored state , Edgar was busy removing the body of Edmund . Shakespeare's text , which had been thought too terrible for the stage from the late seventeenth to the early nineteenth ...
... storm was on the way . And far from sustaining the gored state , Edgar was busy removing the body of Edmund . Shakespeare's text , which had been thought too terrible for the stage from the late seventeenth to the early nineteenth ...
Page 23
... storm compels Lear , Kent , and the Fool to proceed directly to a great communal hovel , where they meet not only Edgar disguised as a beggar but also a whole tribe of real beggars . Here the king learns wisdom by allying himself with ...
... storm compels Lear , Kent , and the Fool to proceed directly to a great communal hovel , where they meet not only Edgar disguised as a beggar but also a whole tribe of real beggars . Here the king learns wisdom by allying himself with ...
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 |
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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 |