Love's Labour's Lost
Autor William Shakespeare Editat de 1stworld Libraryen Limba Engleză Paperback – 11 noi 2005
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Specificații
ISBN-13: 9781421813561
ISBN-10: 1421813564
Pagini: 108
Dimensiuni: 140 x 216 x 7 mm
Greutate: 0.15 kg
Editura: 1st World Publishing
Colecția 1st World Publishing
Locul publicării:United States
ISBN-10: 1421813564
Pagini: 108
Dimensiuni: 140 x 216 x 7 mm
Greutate: 0.15 kg
Editura: 1st World Publishing
Colecția 1st World Publishing
Locul publicării:United States
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Descriere
This newly revised edition of one of the Bard's earliest comedies contains an extensive overview of Shakespeare's life, world, and theater; a special introduction to the play; dramatic criticism from the past and present; and a comprehensive stage history of the play. Reissue.
Notă biografică
http://www.deseretalphabet.info/classics/
Cuprins
Introduction to the Play
Introduction to the Text
Key Facts
Love's Labour's Lost
Textual Notes
Scene-by-scene Analysis
Love's Labour's Lost in Performance: The RSC and Beyond
Four Centuries of Love's Labour's: An Overview
At the Royal Shakespeare Company
The Director's Cut: Interviews with Terry Hands and Liz Shipman
Approaching Love's Labour's: Reflections by Gregory Doran
Shakespeare's Career in the Theatre
Shakespeare's Works: A Chronology
Further Reading and Viewing
Acknowledgements and Picture Credits
Introduction to the Text
Key Facts
Love's Labour's Lost
Textual Notes
Scene-by-scene Analysis
Love's Labour's Lost in Performance: The RSC and Beyond
Four Centuries of Love's Labour's: An Overview
At the Royal Shakespeare Company
The Director's Cut: Interviews with Terry Hands and Liz Shipman
Approaching Love's Labour's: Reflections by Gregory Doran
Shakespeare's Career in the Theatre
Shakespeare's Works: A Chronology
Further Reading and Viewing
Acknowledgements and Picture Credits
Recenzii
This student-friendly edition of a difficult play includes a clear, helpful introduction and notes elucidating the complicated imagery and wordplay. Notes and illustrations refer the reader to various staging options enabling him or her to imagine Love’s Labour’s Lost in performance.
—Katharine E. Maus, James Branch Cabell Professor of English Literature, University of Virginia
—Katharine E. Maus, James Branch Cabell Professor of English Literature, University of Virginia
Even as the New Kittredge Shakespeare series glances back to George Lyman Kittredge's student editions of the plays, it is very much of our current moment: the slim editions are targeted largely at high school and first-year college students who are more versed in visual than in print culture. Not only are the texts of the plays accompanied by photographs or stills from various stage and cinema performances: the editorial contributions are performance-oriented, offering surveys of contemporary film interpretations, essays on the plays as performance pieces, and an annotated filmography. Traditional editorial issues (competing versions of the text, cruxes, editorial emendation history) are for the most part excluded; the editions focus instead on clarifying the text with an eye to performing it. There is no disputing the pedagogic usefulness of the New Kittredge Shakespeare's performance-oriented approach. At times, however, it can run the risk of treating textual issues as impediments, rather than partners, to issues of performance. This is particularly the case with a textually vexed play such as Pericles: Prince of Tyre. In the introduction to the latter, Jeffrey Kahan notes the frequent unintelligibility of the play as originally published: "the chances of a reconstructed text matching what Shakespeare actually wrote are about 'nil'" (p. xiii) But his solution — to use a "traditional text" rather than one corrected as are the Oxford and Norton Pericles — obscures how this "traditional text," including its act and scene division, is itself a palimpsest produced through three centuries of editorial intervention. Nevertheless, the series does a service to its target audience with its emphasis on performance and dramaturgy. Kahan's own essay about his experiences as dramaturge for a college production of Pericles is very good indeed, particularly on the play's inability to purge the trace of incestuous desire that Pericles first encounters in Antioch. Other plays' cinematic histories: Annalisa Castaldo's edition of Henry V contrasts Laurence Oliver's and Branagh's film productions; Samuel Crowl's and James Wells's edition of (respectively) I and 2 Henry IV concentrate on Welle's Chimes at Midnight and Gus Van Sant's My Own Private Idaho; Patricia Lennox's edition of As You Like It offers an overview of four Hollywood and British film adaptations; and John R. Ford's edition of A Midsummer Night's Dream provides a spirited survey of the play's rich film history.
The differences between, and comparative merits of, various editorial series are suggested by the three editions of The Taming of the Shrew published this year. Laury Magnus's New Kittredge Shakespeare edition is, like the other New Kittredge volumes, a workable text for high school and first year college students interested in film and theater. The introduction elaborates on one theme — Elizabethan constructions of gender — and offers a very broad performance history, focusing on Sam Taylor's and Zeffirelli's film versions as well as adaptations such as Kiss Me Kate and Ten Things I Hate About You (accompanied by a still of ten hearthtrobs Heath Ledger and Julia Stiles). The volume is determined to eradicate any confusion that a first time reader of the play might experience: the dramatis personae page explains that "Bianca Minola" is "younger daughter to Baptista, wooed by Lucentio-in-disguise (as Cambio) and then wife to him, also wooed by the elderly Gremio and Hortensio-in-disguise (as Licio)" (p.1). Other editorial notes, based on Kittredge's own, are confined mostly to explaining individual words and phrases: additional footnotes discuss interpretive choices made by film and stage productions. Throughout, the editorial emphasis is on the play less as text than as performance piece, culminating in fifteen largely performance-oriented "study questions" on topics such as disguise, misogyny, and violence.
Studies in English Literature, Tudor and Stuart Drama, Volume 51, Spring 2011, Number 2, pages 497-499.
The differences between, and comparative merits of, various editorial series are suggested by the three editions of The Taming of the Shrew published this year. Laury Magnus's New Kittredge Shakespeare edition is, like the other New Kittredge volumes, a workable text for high school and first year college students interested in film and theater. The introduction elaborates on one theme — Elizabethan constructions of gender — and offers a very broad performance history, focusing on Sam Taylor's and Zeffirelli's film versions as well as adaptations such as Kiss Me Kate and Ten Things I Hate About You (accompanied by a still of ten hearthtrobs Heath Ledger and Julia Stiles). The volume is determined to eradicate any confusion that a first time reader of the play might experience: the dramatis personae page explains that "Bianca Minola" is "younger daughter to Baptista, wooed by Lucentio-in-disguise (as Cambio) and then wife to him, also wooed by the elderly Gremio and Hortensio-in-disguise (as Licio)" (p.1). Other editorial notes, based on Kittredge's own, are confined mostly to explaining individual words and phrases: additional footnotes discuss interpretive choices made by film and stage productions. Throughout, the editorial emphasis is on the play less as text than as performance piece, culminating in fifteen largely performance-oriented "study questions" on topics such as disguise, misogyny, and violence.
Studies in English Literature, Tudor and Stuart Drama, Volume 51, Spring 2011, Number 2, pages 497-499.
This student-friendly edition of a difficult play includes a clear, helpful introduction and notes elucidating the complicated imagery and wordplay. Notes and illustrations refer the reader to various staging options enabling him or her to imagine Love’s Labour’s Lost in performance.
—Katharine E. Maus, James Branch Cabell Professor of English Literature, University of Virginia
Jill P. Ingram is Assistant Professor of Shakespeare and Renaissance Literature at Ohio University. She received her Ph.D. in English from the University of Virginia, and is the author of the book, Idioms of Self-Interest: Credit, Identity and Property in English Renaissance Literature (Routledge, 2006). She has also published many articles on English Renaissance culture and literature.
—Katharine E. Maus, James Branch Cabell Professor of English Literature, University of Virginia
Jill P. Ingram is Assistant Professor of Shakespeare and Renaissance Literature at Ohio University. She received her Ph.D. in English from the University of Virginia, and is the author of the book, Idioms of Self-Interest: Credit, Identity and Property in English Renaissance Literature (Routledge, 2006). She has also published many articles on English Renaissance culture and literature.
Caracteristici
This is the first edition of Love's Labours Lost to be developed by and for the RSC, the world's leading Shakespeare theatre company and it includes unique material to help the reader understand and enjoy Shakespeare on the stage as well as on the page
Illustrated with photographs of classic and unusual performances
Outstanding on-page notes which explain words and phrases unfamiliar to a modern audience, including the slang, political references and bawdy humour often ignored or censored in competing editions
Includes scene-by-scene summary, offering an easily understandable way into the play
Completely new introduction by Jonathan Bate, exploring the text and critical debates around it
Summary of the play's performance history at the RSC and elsewhere
Interviews with important Shakespearean directors Terry Hands, Liz Shipman and Greg Doran, discussing key productions at the RSC
Illustrated with photographs of classic and unusual performances
Outstanding on-page notes which explain words and phrases unfamiliar to a modern audience, including the slang, political references and bawdy humour often ignored or censored in competing editions
Includes scene-by-scene summary, offering an easily understandable way into the play
Completely new introduction by Jonathan Bate, exploring the text and critical debates around it
Summary of the play's performance history at the RSC and elsewhere
Interviews with important Shakespearean directors Terry Hands, Liz Shipman and Greg Doran, discussing key productions at the RSC