Much Ado about NothingCambridge University Press, 1997 - 257 Seiten This is the first edition of Much Ado About Nothing to focus wholly on the play in performance. John Cox investigates major issues and trends in the production of this popular work, analysing successive reinterpretations of the play in relation to their cultural and ideological contexts. Gender issues are central to the study, which highlights in striking ways the changing constructions of womanhood in performances from Shakespeare's time to the present. A commentary alongside the New Cambridge Shakespeare edition of the text recreates in lively detail interpretations of each passage in a variety of British, American, Canadian and other productions, including film and television versions. A full introduction also examines the problematic relation of dark and comic elements in a wide range of performances. An essential resource for students, teachers, actors and directors, this is an illuminating book for all theatregoers. -- from Publisher's Description. |
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Antonio audience BALTHASAR Barton's production Beatrice and Benedick Beatrice's Benedick Borachio Branagh's film Bridges-Adams broken wedding Charles Kemble Claudio and Don comedy comic Conrade costumes Craig cut or abridged Daly dance daughter dialogue director Dogberry Don John Edwin Booth Ellen Terry Emma Thompson Exeunt exit Fanny Davenport gender Gielgud hand hath Haymarket heart Helena Faucit Hero's Irving Irving's Judi Dench Julia Marlowe July Kemble's kiss lady laugh LEONATO lord Macready Macready's Maggie Smith Margaret nineteenth century Old Vic Pedro and Claudio Peggy Ashcroft performance play Poel prince production Claudio production Dogberry production Leonato productions from Garrick promptbook role Saker scene SEACOAL sequence Shakespeare sigh Sinead Cusack Sothern Sothern's 1904-5 production Sothern's 1911 production speech spoke stage Stratford thee thou Tree twentieth century upstage Ursula Verges Victorian Wallack watch words Zeffirelli's production