Sprache: Englisch
Verlag: Cambridge University Press, 1997
ISBN 10: 0521558999 ISBN 13: 9780521558990
Anbieter: Phatpocket Limited, Waltham Abbey, HERTS, Vereinigtes Königreich
EUR 17,32
Anzahl: 1 verfügbar
In den WarenkorbZustand: Good. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library, so some stamps and wear, but in good overall condition. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions.
Sprache: Englisch
Verlag: Cambridge University Press, 1997
ISBN 10: 0521558999 ISBN 13: 9780521558990
Anbieter: Ria Christie Collections, Uxbridge, Vereinigtes Königreich
EUR 55,77
Anzahl: Mehr als 20 verfügbar
In den WarenkorbZustand: New. In.
Sprache: Englisch
Verlag: Cambridge University Press, 1997
ISBN 10: 0521558999 ISBN 13: 9780521558990
Anbieter: Kennys Bookstore, Olney, MD, USA
Zustand: New. How the idea of Shakespearean authority is still invested in the activities of directing, acting, and scholarship. Num Pages: 268 pages, black & white illustrations. BIC Classification: 2AB; DSGS. Category: (P) Professional & Vocational. Dimension: 216 x 138 x 15. Weight in Grams: 350. . 2010. paperback. . . . . Books ship from the US and Ireland.
Sprache: Englisch
Verlag: Cambridge University Press, 1997
ISBN 10: 0521558999 ISBN 13: 9780521558990
Anbieter: AHA-BUCH GmbH, Einbeck, Deutschland
Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - How do our ideas about Shakespeare inform our understanding of the limits of performance This stimulating book asks how both text and performance are construed as vessels of authority. The author finds that our understanding of Shakespearean performance retains a surprising sense of the possibility of being 'faithful' to Shakespearean texts, and so to 'Shakespeare'. After an opening theoretical chapter, Worthen examines the relationship between text and performance in directing, acting, and scholarship. He considers how some prominent theatre directors articulate their role as régisseur under the sign of Shakespeare. Next he looks at how actors read Shakespeare's plays, and in the final chapter he inspects performance-oriented criticism of Shakespeare since the 1960s. This undogmatic and exploratory book contributes to the scholarly study of acting and directing, and to the wider discourse of performance studies.