1,721,021 research outputs found
N. Sanders, R. Southern, T.W. Craik e L. Potter, a cura di. The Revels History of Drama in English, vol. II, 1500-1576. Londra e New York: Methuen, 1980
No full textAnnotazione bibliografica elettronic
Charles Frederick Tucker Brooke. The Tudor Drama: A History of English National Drama to the Retirement of Shakespeare. Hamden, CT, e Londra: Archon Books, 1964 [1911]
No full textAnnotazione bibliografica elettronic
S. Ouditt, (a cura di), Displaced Persons: Conditions of Exile in European Culture (Aldershot: Ashgate, 2002)
No full text“Performing the Passions: David Garrick and Edmund Kean in King Richard The Third”
No full textThis article examines how David Garrick (1717-1779) and Edmund Kean (1789-1833)
relate their styles of acting to contemporary aesthetics. Garrick’s and Kean’s modes
of “naturalness” will be found to be not only different, but also strictly connected with
their socio-cultural background. Garrick, embodying a tendency that was “emergent”
in a century that worshipped “General Nature,” introduced a subjective approach to
character in the theatre, while Kean was the champion of romantic individualism,
which valued originality and aimed at reproducing Nature in its idiosyncratic aspects.
Both of them were masters in representing the passions, as this was considered the
chief test for an actor in the eighteenth and the nineteenth centuries, but, again, the
way in which they performed such passions was far from being the same. Garrick was
praised for his vigorous acting and his sudden transitions from one passion to the other,
but he unvaryingly proved to be graceful in his exertions. On the other hand, Kean
was always “extreme” and unmindful of decorum not only in his celebrated bursts of
passion, but also in his abrupt transitions of tone and in his prosaic attitudes
Enciclopedie e dizionari americani e inglesi in linea
No full textRassegna di risorse online per gli studi letterari e critici
'Spoofing Celebrities': Shakespearean Parodies of Edmund Kean
No full textThe Romantic age, and theatre in particular, figure large in celebrity studies. Edmund Kean was the most celebrated actor and the pre-eminent Shakespearean interpreter of the time. Kean, however, was also straightforwardly notorious. Exceedingly exhibitionist and extravagant in his personal life, he reveled in scandal. His signature stage role was Richard III, and when, in January 1825, the actor became the target of ferocious parody in the press in consequence of a trial for criminal conversation, this and other Shakespearean roles that he had successfully interpreted over the years were suddenly used to attack him. The article examines the verbal and visual parodies of Kean based on Shakespeare that were produced for the occasion, focusing on the multi-level appropriation (or misappropriation) of the Bard in the affair
"L'etica della forma: strategie di straniamento in 'Other People: A Mystery Story' (1981) e 'Time's Arrow' di Martin Amis"
No full textL'artificio dello straniamento in due opere di Martin Amis
Recensione di "Memoria, malinconia e autobiografia dello spirito: Dionys Fitzherbert e Hannah Allen", a cura di Lisanna Calvi
No full textRecensione al volume curato da Lisanna Calvi sulle opere di Dionys Fitzherbert e di Hannah Allen
'New Wine in Old Bottles'. Il bricolage intellettuale di Angela Carter in "Nights al the Circus"
No full textAnalisi del romanzo "Nights at the Circus" di Angela Carter
Greg Walker, The Politics of Performance in Early Renaissance Drama (Cambridge: Cambridge University Press, 1998)
No full text- …
