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How did Shakespeare himself stage the casket scene in The Merchant of Venice? How was the dying Anthony "heaved aloft" into Cleopatra's monument? How did Prospero direct the scene wherein Ariel swoops down out of the heavens to confound the enemies of Prospero and cause the banquet they are about to eat to "vanish"? Such questions, and many others, can be answered only by a scholar familiar with the actual construction of the Globe playhouse and other Elizabethan theatres. About one-fourth of John Adams' study is devoted to establishing various hitherto misunderstood details relating to the design of the Globe, the disposition of the audience, and similar questions. The greater part of his book has to do with the design and equipment of the multiple stage. His data have been gathered from a careful study of every extant play of the period from 1540 to 1663, all available contemporary records bearing upon the subject, and the various specialized inquiries of stage historians. His work, which is the first attempt at a complete and unified reconstruction of the Globe, throws a flood of new light on the whole early history of the English stage and English dramatic literature. There are some seventeen illustrations, including a portion of an extremely important pictorial view of London made by Visscher sometime between 1606 and 1614.
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Aufführung. --- Drama. --- Englische Literatur. --- Schauspieler. --- Actors, English. --- Shakespeare, William, 1564-1616 -- Stage history -- England. --- Shakespeare, William, 1564-1616 -- Stage history -- United States. --- LITERARY CRITICISM / General. --- Drama --- Drama, Modern --- Dramas --- Dramatic works --- Plays --- Playscripts --- Stage --- Literature --- Dialogue --- Philosophy
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Alors qu'elle fut longtemps bannie de la scène, des deux côtés de la Manche, Titus Andronicus, l'œuvre de Shakespeare réputée la plus sanglante, n'a jamais été autant jouée qu'à la charnière des XXe et XXIe siècles. La mise en scène contemporaine semble s’en saisir pour redéfinir les possibles du théâtre. À travers l'étude de dix mises en scène de Titus Andronicus, françaises et britanniques, nous avons cherché à décrire plus largement les caractéristiques d'une dramaturgie de l’effroi.
Theatrical science --- Shakespeare, William --- Fear in literature --- Shakespeare, William, --- Stage history --- English drama --- 17th century --- Contemporary scenery --- Criticism --- Fear in literature. --- Criticism. --- Shakespeare, William, - 1564-1616 - Titus Andronicus --- Shakespeare, William, - 1564-1616 - Stage history - France --- Shakespeare, William, - 1564-1616 - Stage history - Great Britain --- Shakespeare, William, - 1564-1616
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Directing --- Shakespeare, William --- Craig, Edward G. --- Hamlet (Legendary character) --- Tragedy --- Shakespeare, William, --- Craig, Edward Gordon, --- Stanislavsky, Konstantin, --- Stage history --- Moskovskiĭ khudozhestvennyĭ akademicheskiĭ teatr --- Shakespeare, William, - 1564-1616 - Hamlet --- Shakespeare, William, - 1564-1616 - Stage history - Russia (Federation) - Moscow --- Shakespeare, William, - 1564-1616 - Stage history - 1800-1950 --- Craig, Edward Gordon, - 1872-1966 --- Stanislavsky, Konstantin, - 1863-1938 --- Shakespeare, William, - 1564-1616
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English drama --- Theater --- Appreciation --- History --- Theatrical science --- Shakespeare, William --- 20th century --- Stage history --- 1950-.... --- Foreign countries --- Shakespeare, William, 1564-1616 - Stage history - Foreign countries. --- Shakespeare, William, 1564-1616 - Stage history - 1950 --- -English drama - Appreciation - Foreign countries. --- English drama - Appreciation - Foreign countries. --- Theater - History - 20th century --- SHAKESPEARE, WILLIAM (1564-1616) --- THEATRE (GENRE LITTERAIRE) ANGLAIS --- THEATRE --- HISTOIRE SCENIQUE --- A L'ETRANGER --- 1950 --- -APPRECIATION --- HISTOIRE --- 20E SIECLE
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