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Dramatic criticism --- Theater critics --- Actors

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The aim of this study is to investigate the original text and background of Shakespeare's Hamlet by separating the play from four hundred years of accumulated layers of theatrical and critical tradition. The outstanding popularity of the tragedy has caused the text to be altered according to the particular tastes and morals of various ages; the critical distortion occurred most notably in the Romantic Period (with Goethe, Coleridge and Hazllitt) and was perpetuated by performers of the Victorian Age and beyond. Even when cuts and changes have gradually been abandoned in favour of Shakespeare's original text, tradition has proceeded to present, by and large, the Romantic Hamlet of the nineteenth century and an infallible protagonist strangely at odds with the rest of the Shakespeare cannon, as Joseph Hunter observed in 1845 when he said of the play that it was'quite at variance with the ordinary modes of thinking of its author'. In 1930, Wilson Knight stated that the price of sentimentalizing Hamlet is our failure to understand him. For the benefit of scholars as well as theatre people, this investigative study of the text and tradition of Hamlet hopes to demonstrate that Shakespeare's original play and its hero were much less of a mystery than commonly perceived today.

Hamlet (Legendary character) --- Shakespeare, William, --- Dramatic production --- Dramatic production. --- Hamlet (Legendary character). --- Shakespeare, William, - 1564-1616 - Hamlet --- Shakespeare, William, - 1564-1616 - Dramatic production --- Shakespeare, William, - 1564-1616

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Wedekind, Frank, --- Criticism and interpretation. --- Humor. --- Wedekind, Frank --- Dramatic works

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Theatrical science --- Shakespeare, William --- Shakespeare, William, --- Dramatic production. --- Film and video adaptations. --- Dramatic production --- Film and video adaptations --- Handbooks, manuals, etc.

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Don Alvaro, or the Force of Fate by Angel de Saavedra, Duke of Rivas (1791-1865), premiered in 1835 in Madrid and changed the Spanish stage forever after. It was the benchmark Romantic play of early nineteenth-century Spain. In this English edition designed for either classroom use or performance, Robert Fedorchek presents a readable translation faithful to the tone and spirit of the original. Joyce Tolliver enhances the book with a rich introduction highlighting the work's lasting significance. The play tells of the torrid love of the mysterious Don Alvaro and the lovely Dona Leonor, and how fate intervenes - by way of Alvaro's role in the ""accidental"" death of Leonor's father - to bring about the extermination of Leonor's family at the hands of the man who loves her to distraction. Although chronologically not the first Spanish Romantic drama, Don Alvaro is generally considered the true exponent of the freedom of expression that Romanticism brought to the theater. It does away with all the Neoclassical rules: it exceeds twenty-four hours; the action takes place in two countries; it mixes high and low; prose alternates with verse; and the characters express, melodramatically and passionately, their innermost feelings. It is also generally considered the first play in the best trilogy, along with Antonio Garcia Gutierrez's El trovador (The troubadour, 1836) and Juan Eugenio Hartzenbusch's Los amantes de Teruel (The lovers of Teruel, 1837).

Spanish drama --- Spanish literature --- Translations into English. --- Drama (Dramatic Works By One Author) --- Drama