Red Velvet
Autor Lolita Chakrabartien Limba Engleză Paperback – 31 dec 2014
Preț: 99.51 lei
Puncte Express: 149
Carte indisponibilă temporar
Livrare prin curier în România Termenul estimat este afișat lângă disponibilitate.
Transport gratuit de la 400.00 lei Plată online sau ramburs, în funcție de opțiunile comenzii.
Retur gratuit în 14 zile Comandă securizată și suport în română.
Specificații
ISBN-13: 9780573703225
ISBN-10: 0573703221
Pagini: 88
Dimensiuni: 127 x 203 x 6 mm
Greutate: 0.1 kg
Editura: Samuel French, Inc.
ISBN-10: 0573703221
Pagini: 88
Dimensiuni: 127 x 203 x 6 mm
Greutate: 0.1 kg
Editura: Samuel French, Inc.
Descriere
Descriere de la o altă ediție sau format:
'Chakrabarti has crafted a rich psychological study that's also a shrewd portrait of the theatre as an institution - its vanities and strange conventions, its politics and sense of community, the opportunities it presents for both progress and blinkered traditionalism.' EVENING STANDARD
Theatre Royal, Covent Garden, 1833. Edmund Kean, the greatest actor of his generation, has collapsed on stage while playing Othello. A young Black American actor has been asked to take over the role. But as the public riot in the streets over the abolition of slavery, how will the cast, critics and audience react to the revolution taking place in the theatre?
Red Velvet uses imagined experiences based on the true story of Ira Aldridge, a Black American actor who, in the nineteenth century, built an incredible reputation on the stages of London and Europe.
This Student Edition contains commentary and notes by Lydia Valentine, Research Fellow and Lecturer at Shakespeare's Globe.
'Chakrabarti has crafted a rich psychological study that's also a shrewd portrait of the theatre as an institution - its vanities and strange conventions, its politics and sense of community, the opportunities it presents for both progress and blinkered traditionalism.' EVENING STANDARD
Theatre Royal, Covent Garden, 1833. Edmund Kean, the greatest actor of his generation, has collapsed on stage while playing Othello. A young Black American actor has been asked to take over the role. But as the public riot in the streets over the abolition of slavery, how will the cast, critics and audience react to the revolution taking place in the theatre?
Red Velvet uses imagined experiences based on the true story of Ira Aldridge, a Black American actor who, in the nineteenth century, built an incredible reputation on the stages of London and Europe.
This Student Edition contains commentary and notes by Lydia Valentine, Research Fellow and Lecturer at Shakespeare's Globe.
Cuprins
Chronology
Who was Ira Aldridge?
Historical, Social and Cultural Contexts
> Race, Shakespeare and Othello
> Race and Performance in the Nineteenth Century
> Black Shakespeare: Making Ira Aldridge Visible
Red Velvet in Performance
> Temporality
> Sound
> Metatheatricality
> Staging the Characters
Performance History and Critical Reception
Themes
> Tradition
> Anti-Black Racism and Stereotypes of Black Masculinity
> Forgotten Histories
> Englishness and National Identity
RED VELVET
Notes
Who was Ira Aldridge?
Historical, Social and Cultural Contexts
> Race, Shakespeare and Othello
> Race and Performance in the Nineteenth Century
> Black Shakespeare: Making Ira Aldridge Visible
Red Velvet in Performance
> Temporality
> Sound
> Metatheatricality
> Staging the Characters
Performance History and Critical Reception
Themes
> Tradition
> Anti-Black Racism and Stereotypes of Black Masculinity
> Forgotten Histories
> Englishness and National Identity
RED VELVET
Notes
Recenzii
Chakrabarti's writing is funny and fierce . . . the issues 'Red Velvet' deals with are far from past tense.
Chakrabarti smartly draws parallels between the world of Shakespeare's Othello, the 1830s and our own society. She writes shrewdly about the theatre's role as an instrument of both social progress and conservatism . . . an arresting and sometimes very funny play.
Chakrabarti smartly draws parallels between the world of Shakespeare's Othello, the 1830s and our own society. She writes shrewdly about the theatre's role as an instrument of both social progress and conservatism . . . an arresting and sometimes very funny play.