Sprache: Englisch
Verlag: Cambridge University Press, 2000
ISBN 10: 0521632099 ISBN 13: 9780521632096
Anbieter: Prior Books Ltd, Cheltenham, Vereinigtes Königreich
EUR 17,44
Anzahl: 1 verfügbar
In den WarenkorbHardcover. Zustand: Like New. Reprint. A bright, clean hardback, firm and square with strong joints, just a few very minor rubs. Hence a non-text page is stamped 'damaged'. Despite such this book is actually nearly new condition. Thus it looks and feels unread with contents that are crisp, fresh and tight. Now offered for sale at a special bargain price.
Sprache: Englisch
Verlag: Cambridge University Press, 2000
ISBN 10: 0521632099 ISBN 13: 9780521632096
Anbieter: Ria Christie Collections, Uxbridge, Vereinigtes Königreich
EUR 101,74
Anzahl: Mehr als 20 verfügbar
In den WarenkorbZustand: New. In.
Sprache: Englisch
Verlag: Cambridge University Press, 2000
ISBN 10: 0521632099 ISBN 13: 9780521632096
Anbieter: Kennys Bookstore, Olney, MD, USA
EUR 144,13
Anzahl: Mehr als 20 verfügbar
In den WarenkorbZustand: New. A full study of this major contemporary play, including an interview with Edward Albee. Series: Plays in Production. Num Pages: 220 pages, 11 b/w illus. BIC Classification: 2ABM; AN; DSBH; DSG. Category: (P) Professional & Vocational; (U) Tertiary Education (US: College). Dimension: 216 x 138 x 16. Weight in Grams: 405. . 2000. Illustrated. hardcover. . . . . Books ship from the US and Ireland.
Sprache: Englisch
Verlag: Cambridge University Press, 2000
ISBN 10: 0521632099 ISBN 13: 9780521632096
Anbieter: AHA-BUCH GmbH, Einbeck, Deutschland
Buch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - This is a detailed study of one of the most important plays in contemporary theatre, Who's Afraid of Virginia Woolf , by Edward Albee. In this fascinating look at the modern stage, Stephen Bottoms draws on original archival material and sources including an exclusive interview with Edward Albee. The Introduction considers the text of the play itself; part one provides a survey of the major productions from 1962 to 1999, with special attention paid to the premiere and the 1966 film version. Part two examines shifting critical responses to the play, demonstrating how changing times and attitudes have altered audience perception of performances. The third and final part offers a detailed examination of five different performances, comparing and contrasting directorial, design and acting approaches to demonstrate how our understanding of the play alters considerably according to its interpretation on stage.