Titlebook: A Directory of Shakespeare in Performance 1970-1990; Volume 2, USA and Ca Katharine Goodland,John O’Connor Book 2010 Palgrave Macmillan, a

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https://doi.org/10.1007/978-3-030-45971-0, and playing it with very much the same non-psychological attitude Bettis believes the Elizabethans would have. I always think Shakespeare is over-psychologized, over-dressed, says Bettis. We’re not talking about politics, or art. We’re playing it as a succession of scenes, telling a fascinating st

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惹人反感

https://doi.org/10.1007/978-981-10-5343-6id show that this enigma was a force rather than a character. He played the Duke as Authority, implacable, apparently capricious, frequently impersonal, inscrutable, and secret, not obliged to offer answers or explanations, morally self-sufficient. Mr. Hutt did not, of course, attempt to play an abs

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RAGE

https://doi.org/10.1007/978-4-431-55558-2 strength lies. It is not in the young people, despite all their activity, but in the old ones: King Louis, and above all, the Countess Rousillon, Bertram’s mother. With Tanya Moiseiwitsch as designer, a lovely autumnal scene has been devised. A gardener—Lavache, a muted clown—sweeps dead leaves awa

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Toshiyuki Monma,Itsuo Goto,Kanju Ohsawarst wife, her alternate rage and joy at a messenger s description of his newly acquired second, are models of serio-comic playing, heart and head locked in shrewish battle. She also carefully prepares the groundwork, early, for her essential distrust of Antony s strength, looking ahead to the play’s

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https://doi.org/10.1007/978-4-431-55558-2 this Mr. Hutt and his cast were generally successful Unfortunately Mr. Hutt—in conspiracy with his designer, Alan Barlow—elected to set the play in some Ruritania of the 18. century, where ruffs and fluffs shared credence with leather jackets that looked like forgotten time refugees from Hell’s Ang

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