In this most unusual book of theatrical criticism he discusses all the leading Hamlets, including John Barrymore, John Gielgud, Maurice Evans, Michael Redgrave, Laurence Olivier.
Author: J. C. Trewin
Publisher: Bloomsbury Reader
Hamlet is probably the most famous play in the world. Distinguished critic, J. C. Trewin, went to it for the first time in 1922 when he was fourteen,and, thereafter, professionally, as drama critic successively of theObserver, Punch,and theIllustrated London News,he saw it repeatedly through sixty years of theatrical history. In this most unusual book of theatrical criticism he discusses all the leading Hamlets, including John Barrymore, John Gielgud, Maurice Evans, Michael Redgrave, Laurence Olivier. He reflects on how the play has sounded through its many productions, how the critics reacted, what were the backstage arguments and the changing mores of theatrical life. Trewin's criticism is not only judicious. It is impassioned.
John Neville 1957 – J.C.Trewin, Five and Eighty Hamlets; John Miller, Judi
Dench; Rose Collis, Coral Browne. Michael Redgrave 1958 – Alan Strachan,
Secret Dreams; Vanessa Redgrave, An Autobiography; Corin Redgrave, Michael
Author: Jonathan Croall
Publisher: Bloomsbury Publishing
Hamlet is arguably the most famous play on the planet, and the greatest of all Shakespeare's works. Its rich story and complex leading role have provoked intense debate and myriad interpretations. To play such a uniquely multi-faceted character as Hamlet represents the supreme challenge for a young actor. Performing Hamlet contains Jonathan Croall's revealing in-depth interviews with five distinguished actors who have played the Prince this century: Jude Law: 'You get to speak possibly the most beautiful lines about humankind ever given to an actor.' Simon Russell Beale: 'Hamlet is a very hospitable role: it will take anything you throw at it.' David Tennant: 'No other part has been so satisfying. It was tough, but utterly compelling.' Maxine Peake: 'Hamlet was a way of accessing bits of me as an actress I've not been able to access before.' Adrian Lester: 'Working with Peter Brook on Hamlet changed me as an actor, and for the better.' The book benefits from the author's interviews with six leading directors of the play during these years: Greg Doran, Nicholas Hytner, Michael Grandage, John Caird, Sarah Frankcom and Simon Godwin. Many other productions are described, from those starring Michael Redgrave, Alec Guinness and Paul Scofield in the 1950s, to the performances of Benedict Cumberbatch, Andrew Scott and Paapa Essiedu in recent times. The volume also includes an updated text of the author's earlier book Hamlet Observed, and an account of actors' experiences of performing at Elsinore.
Hamlet from an actor's prompt book ' , Fortnightly Review , December 1895 , 863
–78 . Trewin , J. C. Five & Eighty Hamlets , New York , 1987 . Shakespeare on the
English Stage , 1900-1964 , London , 1964 . Tynan , Kenneth . He that Plays ...
Author: William Shakespeare
Publisher: Cambridge University Press
This edition tells the story of Hamlet in production, from Burbage at the Globe to Branagh on film, relating stage interpretations to developments in the theatre, in literary criticism and in society. The detailed stage history records an ongoing process of discovery, as successive performers have found what it is in the play that will speak most powerfully to the audiences of their own times. The introduction focuses not only on star Hamlets, but on whole productions of the play including supporting players and, in this century, direction and design.
Trewin, J. C. Five and Eighty Hamlets. New York: New Amsterdam, 1989. Orig. ed
. 1987. A chronological review of stage productions from 1908 to 1987. Other
References Consulted Bullough, Geoffrey, ed. Narrative and Dramatic Sources of
Author: William Shakespeare
Publisher: Hackett Publishing
George Lyman Kittredge’s insightful editions of Shakespeare have endured in part because of his eclecticism, his diversity of interests, and his wide-ranging accomplishments, all of which are reflected in the valuable notes in each volume. These new editions have specific emphasis on the performance histories of the plays (on stage and screen). Features of each edition include: The introduction to the original Kittredge Edition Editor’s Introduction to the Focus Edition. An overview on major themes of the plays, and sections on the play’s performance history on stage and screen. Explanatory Notes. The explanatory notes either expand on Kittredge’s superb glosses, or, in the case of plays for which he did not write notes, give the needed explanations for Shakespeare’s sometimes demanding language. Performance notes. These appear separately and immediately below the textual footnotes and include discussions of noteworthy stagings of the plays, issues of interpretation, and film and stage choices. How to read the play as Performance Section. A discussion of the written play vs. the play as performed and the various ways in which Shakespeare’s words allow the reader to envision the work "off the page." Comprehensive Timeline. Covering major historical events (with brief annotations) as well as relevant details from Shakespeare’s life. Some of the Chronologies include time chronologies within the plays. Topics for Discussion and Further Study Section. Critical Issues: Dealing with the text in a larger context and considerations of character, genre, language, and interpretative problems. Performance Issues: Problems and intricacies of staging the play connected to chief issues discussed in the Focus Editions’ Introduction. Select Bibliography & Filmography Images from major productions, for comparison and scene study.
J. C. Trewin, Five and Eighty Hamlets (London: Century Hutchinson, 1987),p. 168
. Programme notes, Hamlet, dir. Adrian Noble, Royal Shakespeare Company,
first performance 12 December 1992. Anthony B. Dawson, Hamlet, Shakespeare
Author: Margaret Jane Kidnie
'Kidnie's study presents original, sophisticated, and profoundly intelligent answers to important questions.' - Lukas Erne, University of Geneva 'This is a fine and productive book, one that will surely draw significant attention and commentary well beyond the precincts of Shakespeare studies.' - W.B. Worthen, Columbia University Shakespeare’s plays continue to be circulated on a massive scale in a variety of guises – as editions, performances, and adaptations – and it is by means of such mediation that we come to know his drama. Shakespeare and the Problem of Adaptation addresses fundamental questions about this process of mediation, making use of the fraught category of adaptation to explore how we currently understand the Shakespearean work. To adapt implies there exists something to alter, but what constitutes the category of the ‘play’, and how does it relate to adaptation? How do ‘play’ and ‘adaptation’ relate to drama’s twin media, text and performance? What impact might answers to these questions have on current editorial, performance, and adaptation studies? Margaret Jane Kidnie argues that ‘play’ and ‘adaptation’ are provisional categories - mutually dependent processes that evolve over time in accordance with the needs of users. This theoretical argument about the identity of works and the nature of text and performance is pursued in relation to diverse examples, including theatrical productions by the Royal Shakespeare Company, the BBC’s ShakespeaRe-Told, the Reduced Shakespeare Company, and recent print editions of the complete works. These new readings build up a persuasive picture of the cultural and intellectual processes that determine how the authentically Shakespearean is distinguished from the fraudulent and adaptive. Adaptation thus emerges as the conceptually necessary but culturally problematic category that results from partial or occasional failures to recognize a shifting work in its textual-theatrical instance.
... and in favour of what a mid- 1980s volume called Alternative Shakespeare(s).
This affects criticism (e.g. Hawkes's Telmah, or Hamlet backwards); study of stage
interpretation (e.g. J. C. Trewin's Five and Eighty Hamlets); and editing (e.g. the ...
Author: Howard Mills
Publisher: Rowman & Littlefield
This book aims to increase the pleasure of studying Shakespeare, working with the plays as the craftsman-dramatist himself worked by concentrating on poetic detail and dramatic moments.
Trewin, C. (1987), Five é'Eighty Hamlets. London: Hutchinson. Tribble, Evelyn (
2005), 'Distributing cognition in the globe'. Shakespeare Quarterly, 56(2), 155-55.
Tudeau-Clayton, Margaret (1998), ]onson, Shakespeare and Early Modern Virgil
Author: William McKenzie
Publisher: A&C Black
Following the ethos and ambition of the Shakespeare NOW! series, and harnessing the energy, challenge and vigour of the 'minigraph' form, Shakespeare and I is a provocative appeal and manifesto for a more personal form of criticism. A number of the most exciting and authoritative writers on Shakespeare examine and scrutinise their deepest, most personal and intimate responses to Shakespeare's plays and poems, to ask themselves if and how Shakespeare has made them the person they are. Their responses include autobiographical histories, reflections on their relationship to their professional, institutional or familial roles and meditations on the person-making force of religious or political conviction. A blog at http://shakespearenowseries.blogspot.com enables both contributors and readers to continue the debate about why Shakespeare keeps us reading and what that means for our lives today. The book aims to inspire readers to think and write about their ever-changing personal relationship with Shakespeare: about how the poems and plays - and writing about them - can reveal or transform our sense of ourselves.
Mander and Mitchenson , “ Hamlet ” through the Ages ( London : Barrie and
Rockliff , 1952 ) ; Trewin , Five and Eighty Hamlets ( London : Hutchison , 1987 ) ;
Kliman , “ Hamlet ” : Film , Television , and Audio Performance ( Rutherford , N . J
Author: George M Bodman Professor of English David Scott Kastan
Publisher: Twayne Publishers
Series Editors: James Nagel, University of Georgia; Zack Bowen, University of Miami and Robert Lecker, McGill University The full range of literary traditions comes to life in the "Twayne Critical Essays Series." Volume editors have carefully selected critical essays that represent the full spectrum of controversies, trends and methodologies relating to each author's work. Essays include writings from the author's native country and abroad, with interpretations from the time they were writing, through the present day. Each volume includes: An introduction providing the reader with a lucid overview of criticism from its beginnings-illuminating controversies, evaluating approaches, and sorting out the schools of thought The most influential reviews and the best reprinted scholarly essays A section devoted exclusively to reviews and reactions by the subject's contemporaries Original essays, new translations, and revisions commissioned especially for the series Previously unpublished materials such as interviews, lost letters and manuscript fragments A bibliography of the subject's writings and interviews A name and subject index
I placed the Hamlets in chronological order because that sequence
demonstrated a shift from following established acting ... John Trewin , critic for
the London Observer and author of Five and Eighty Hamlets , talked with me a
few months ...
Author: Thomas Postlewait
Publisher: Studies in Theatre History & C
In Modern Hamlets and Their Soliloquies (Iowa, 1992), Mary Maher examined how modern actors have chosen to perform Hamlet's soliloquies, and why they made the choices they made, within the context of their specific productions of the play.
51 “ Sarah Bernhardt Tells Why She Thinks Hamlet Was Thin , Young and
Lovelorn , ” The World ( 11 June 1899 ) , 5 . 52 Clipping of “ A ... See also J . C .
Trewin , Five and Eighty Hamlets ( New York : New Amsterdam Books , 1989 ) , p
. 16 .
Author: Gerda Taranow
Publisher: Peter Lang Pub Incorporated
Critics regarded Sarah Bernhardt's interpretation of Hamlet in 1899 as the revelation of Shakespeare's tragedy in France. The Bernhardt Hamlet is the first to investigate that production and to explain its context and its impact upon the cultural life of the time. Bernhardt's most significant innovation was her rejection of romantic sensibility in favor of the revenge tradition. In assuming a male role, she remained within the theatrical tradition of travesti that came to full fruition in the nineteenth century. Classically trained, the 54-year-old Bernhardt refashioned the Hamlet inheritance with insight, vigor, and originality.
In this Hamlet Branagh himself plays the unhappy Prince , and so lucidly that
every shift in the volatile character ' s mood seems perfectly natural . He ' s a
startlingly normal ... J . C . Trewin , Five and Eighty Hamlets ( 1987 ; rpt . New
York : New ...
Author: Holger Michael Klein
This is the seventh volume of a series of yearbooks covering works by Shakespeare. This volume deals with film versions of Hamlet, including topics such as Hamlet's ghost on the screen, Kenneth Branagh's interpolations in Hamlet, Zeffirelli's Hamlet and Hamlet as a woman. Topics raised include comic uses of the tragedy, the portrayl of Hamlet's ghost on screen and the poetic and dramatic uses of cookery in Shakespeare's plays.
two hundred eighty-one east of the village of Hilton; beginning at state highway
five thousand forty-six at a point north of the hamlet of Mumford, thence running
generally northerly through or near the hamlet of Riga Center and the village of ...
Includes private and local laws.