Keeble william shakespeare (9 Ergebnisse)
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Zustand: Very Good. Shipped within 24 hours from our UK warehouse. Clean, undamaged book with no damage to pages and minimal wear to the cover. Spine still tight, in very good condition. Remember if you are not happy, you are covered by our 100% money back guarantee.
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Zustand: Como nuevo. : Esta edición de 'Ricardo II' de Shakespeare ofrece a los lectores una visión de las corrientes de pensamiento actuales sobre Shakespeare. El volumen contiene notas explicativas completas en las páginas que se enfrentan al texto de la obra y una útil introducción al lenguaje de Shakespeare. Al final de la o…bra, hay un ensayo que evalúa la obra a la luz de los intereses y preocupaciones actuales. Este libro es una guía de estudio para estudiantes y cualquier persona interesada en la obra de Shakespeare. EAN: 9780582037601 Tipo: Libros Categoría: Educación Título: Richard II Autor: William Shakespeare| N. H. Keeble| A.N. Jeffares| S. Bushrui Editorial: Pearson Education Limited Idioma: en Páginas: 120 Formato: tapa blanda.
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Soft cover. Zustand: Good. Reprint. Paperback. Previous owners name to inside cover. Ticks in margin in pencil to some pages. Contents: Introduction. Summaries. Commentary. Hints For Study. Suggestions For Further reading. 120 pp. (We carry a wide selection of titles in The Arts, Theology, History, Politics, Social and Physical…Sciences. academic and scholarly books and Modern First Editions ,and all types of Academic Literature.).
Sprache: Englisch
Verlag: London: York Press 2003-2005., 2003
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In den WarenkorbKart., broschiert. Zustand: Gut. Jeder Band etw. 120 S., in Englisch. Einbände etwas berieben und bestoßen, Schnitte leicht angeschmutzt, sonst gut erhalten. Sprache: Englisch Gewicht in Gramm: 790.
Verlag: Longman, 1994
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In den WarenkorbBroché. Zustand: Etat satisfaisant. Description :Rares annotations au crayon de bois. Langue : Anglais Nb de volumes : 1.
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Zustand: New. York Notes Advanced offer a fresh and accessible approach to English Literature. This market-leading series has been completely updated to meet the needs of today s A-level and undergraduate students. Written by established literature experts, York Notes .
[Lillah McCarthy, actress and wife of Harley Granville-Barker, on William Poel and Sir Henry Irving.] Three typescripts, including 'Notes from memory of William Poel' and 'Sir Henry Irving in 1895 from memory by Lillah McCarthy'.
Lillah McCarthy [Lady Keeble] (1875-1960), actress associated with Bernard Shaw and her husband Harley Granville-Barker [William Poel (1852-1934), pioneer director of Shakespeare; Sir Henry Irving]
Verlag: Uniform. Without date or place. But one with reference to Wolfit's 'Lear', 1944
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In den WarenkorbThree typescripts from the papers of Lillah McCarthy (Lady Keeble). The first two both apparently unpublished are full of interest: they gives personal reminiscences of her work with William Poel, the 'pioneer of modern Shakespeare production', whom she considered the greatest influence on her career. She describes Poel's workin…g methods, his lecture style, rehearsals, use of make up, modern influence (with reminiscences about Wolfit and Olivier), and even his death, at which she was present. The second item discusses Irving, with reference to those of his productions which she attended, and a meeting with him. The Poel items are 9 &8pp., the Irving, 4pp. 4toThe three items uniform in layout and paper stock, each printed on rectos and paginated, and each with the leaves stapled together at one corner. The three in good condition, lightly aged. All three items are scarce: no copies are listed on OCLC WorldCat, and the only copy of Item One traced is noted in Claris Glick, 'William Poel: His Theories and Influence' (1964), as at the 'Royal Shakespeare Library' (now part of the Birmingham Shakespeare Library?). ONE: 'NOTES FROM MEMORY OF WILLIAM POEL. | by Lillah McCarthy. (Lady Keeble).' 9pp, 4to. Begins: 'WILLIAM POEL 1895. | Director, Lecturer and Teacher of the Shakespeare Reading Society which still exists. | Founder, Director and Producer of the Elizabethan Stage Society.' Poel was, McCarthy begins, 'pre-eminently a keen Elizabethan scholar: his special subject: Shakespeare. His ambition was to produce Shakespeare's plays as they were produced and acted in Shakespeare's time, with the Apron Stage and the set scene. But as actresses were and had been very popular William Poel had no need to resort only to boy actors as in Shakespeare's day. Delivery of the verse, rapid and clear: perfect diction, rhythm, voice strong and resonant. | Gestures to be employed sparingly, only when really necessary to the action of play, but then strong and definite.' There follows a section on 'Make Up', with descriptions of that used for Lady Macbeth, Viola and Olivia. Of Lady Macbeth she writes: 'The hair or wig no matter what colour was needed for the part. The forehead must be built up high and broad. Hair dressed high, well back from the ears, swept high from the forehead and up from the neck.' Sections follow on 'Carriage Style' and 'Costumes'. She next turns to Poel's activities around the time when she became a member of the Shakespeare Reading Society in 1895. During weekly lectures Poel 'would stand at his desk on the platform and declare in emphatic tones his determination to get a public together that could appreciate Shakespeare for the genius as a playwright. | There was nothing academic about Poel's way of lecturing. He spoke excitedly, passionately and often violently.' She recalls how she took the part of Romeo in one of Poel's public readings: 'We the actors used to sit in a semi-circle in the way that the Theatre Francaise Presented Moliere, each of us standing up when our turn came. Though we knew our parts by heart; Poel saw to that we had to have the book in our hands because it was a "reading".' A page and a half are devoted to Poel's 'Rehearsals', during which he was 'ruthless': 'He rehearsed each of us one at a time. We were made to repeat after him our lines until we had got the rhythm and then the right expression of the passion or the tenderness or other essential of the part which the character demanded.' She performed three Shakespeare parts under Poel's direction, and 'also played the leading part in his production of Swinburne's LOCRINE. He also produced THE BACCHAE in which I played DIONYSUS.' She recalls how the Greek scholar Gilbert Murray, whose translation was used, was present at rehearsals. Returning to Shakespeare, she gives numerous examples of how 'Poel insisted on the YOUTH of Shakespeare's leading characters': 'Youth was exuberant in Shakespeare and old age only a dim background.' She states that.
