Shakespeare the Victorian

Schoch, Richard

doi:10.1002/9780470996706.ch13

Cited by 2 publications

(2 citation statements)

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“…As Richard Schoch notes, he became "committed to pictorial mise en scène," a mode of production that was especially identified with Shakespeare revivals and "entailed not only highly elaborate scenery, but also detailed costumes and properties, spectacular scenic and lighting effects, and the frequent use of tableaux vivants." 67 The triumphal statement announcing the second performance of the play proclaimed that "The Life and Death of King Richard the Third, in its altered state, was received with very great applause-and MR MACREADY never more successful than in the character of Richard." 68 But this sounds like puffery.…”

Section: William Charles Macready's Adaptationmentioning

confidence: 99%

Looking for Richard Iii in Romantic Times: Thomas Bridgman's and William Charles Macready's Abortive Stage Adaptations

Caputo¹

2011

Theat Surv

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In his commendatory poem from the First Folio, Ben Jonson asserted that Shakespeare “was not of an age, but for all time.” This has proved true, and Shakespeare has been able to speak to many succeeding generations of readers and theatregoers. This, however, is not because essential, unchangeable, and universal truths about human nature, the world, and experience lay hidden in his plays or his characters but (quite the opposite) because succeeding generations, over the centuries, have been able to appropriate, exploit, and reuse Shakespeare to make sense of their world and their lives. Shakespeare is for all time precisely because he has relentlessly changed over time. The author and his texts have been unceasingly reinvented, and a virtually infinite number of “alternative Shakespeares” has come to embody specific contemporary issues and conflicts. As Jean Marsden put it in 1991, Shakespeare is the object of “an ongoing process of literary and cultural appropriation in which each new generation attempts to redefine Shakespeare's genius in contemporary terms, projecting its desires and anxieties onto his work.” This is true for both the “dramatic” Shakespeare and the “theatrical” Shakespeare: Shakespeare's plays have been as tirelessly reinterpreted on the page by scholars (and others) as they have been reinvented on the stage by actors and directors. The fate of King Richard III, however, is peculiar from this point of view, insofar as an often-denigrated Restoration revision of Shakespeare's play totally replaced the “original” one in the theatre and held the stage for nearly 200 years. This peculiarity acquires interesting overtones when we look at the treatment the staged play received at the hands of the Romantics, who, in spite of the bardolatry prevailing at the time and their often-vented disesteem for the adapted version, apparently missed their opportunity to make Shakespeare's original play speak for their own time.

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Section: William Charles Macready's Adaptationmentioning

confidence: 99%

Looking for Richard Iii in Romantic Times: Thomas Bridgman's and William Charles Macready's Abortive Stage Adaptations

Caputo¹

2011

Theat Surv

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“…Il fait comme si les portraits étaient dans le public, accrochés au « quatrième mur » imaginaire de la scène. Avec cette mise en scène, les portraits peuvent, selon Richard Schoch, soit bel et bien exister soit appartenir aux hallucinations d'Hamlet 7 . Tout dépend de l'interprétation qu'en fera chaque spectateur et spectatrice.…”

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La scène des portraits au théâtre, à la radio et à l’écran : Kenneth Branagh et cinq Hamlets sous influence

Hatchuel

2024

asf

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Focalisé sur la séquence des portraits (scène du boudoir, acte III scène iv, où Hamlet montre à Gertrude le portrait de son ancien mari et celui du nouveau), cet article analyse le parcours de l’acteur-auteur Kenneth Branagh à travers cinq productions d’Hamlet où il a joué le personnage éponyme (RADA 1980 ; Renaissance 1988 ; BBC Radio 1992 ; RSC 1993 ; Castle Rock Films 1996). Les séquences seront étudiées comme des carrefours d’influences contradictoires, entre interprétation violente et sexualisée (Olivier, Zeffirelli) et jeu retenu et menaçant (Kozintsev), entre prise en compte de l’expérience d’un mentor (Derek Jacobi) et fascination pour un acteur hollywoodien (James Cagney). Nous montrerons que l’interprétation de Branagh, à la fois personnelle et collective, évolue de 1980 à 1996, dans une prise en compte à la fois du médium et des multiples sources d’influence de l’acteur-auteur.

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Shakespeare the Victorian

Cited by 2 publications

References 4 publications

Looking for Richard Iii in Romantic Times: Thomas Bridgman's and William Charles Macready's Abortive Stage Adaptations

Looking for Richard Iii in Romantic Times: Thomas Bridgman's and William Charles Macready's Abortive Stage Adaptations

La scène des portraits au théâtre, à la radio et à l’écran : Kenneth Branagh et cinq Hamlets sous influence

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