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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Mitigate

modern theatre, he argues that contradiction and creative inconsistency are marks of Shakespeare‘s plays and that productions usually work best when they embrace opposition and strive for balance, rather than when they adopt one-sided readings or suppress elements that don‘t fit a particular concept.978-0-333-43816-9978-1-349-19362-2

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Henry IV, Part 2,arlier play. Thus the question of Hal’s wastrel life, his dependence on Falstaff and the other denizens of Eastcheap, and the fears for the kind of king he will make, all come back up and are re-presented in a darker tone.

pacifist

inhumane

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As You Like It,on Orlando’s victory, the usurping Duke Frederick asks the victor his name. The simple reply, ‘Orlando, my liege, the youngest son of Sir Rowland de Boys’, falls coldly on the ears of the Duke and his careful court. For Sir Rowland has been a close friend of the former duke, now banished, who is the

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The Merchant of Venice, family love and racial pride than by malevolent cruelty. Later in the nineteenth century, in one of his most famous roles, Sir Henry Irving turned Shylock into a dignified elder, calm, majestic, pitiless and implacable, a figure of tragic stature. Dazed and unconscious after his defeat, he at last

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Richard II,on of ., commissioned by Essex’s followers and performed by Shakespeare’s company. There seems little doubt that the deposition scene was included in that performance! Interestingly, members of the company escaped reprisals, because the authorities accepted the view that they had simply been hired t

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As You Like It,on Orlando’s victory, the usurping Duke Frederick asks the victor his name. The simple reply, ‘Orlando, my liege, the youngest son of Sir Rowland de Boys’, falls coldly on the ears of the Duke and his careful court. For Sir Rowland has been a close friend of the former duke, now banished, who is the

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Henry IV, Part 1,at the end of . — the rejection of Falstaff. Similarly, . 1 may be presented along with . only, as it was by Trevor Nunn and the RSC at the Barbican Theatre in 1982, or it may be produced as the first play of a trilogy culminating in the triumphant ., as it was by Terry Hands and the RSC in the mid-