Nascondi1
Christopher Innes
The Cambridge Companion to George Bernard Shaw
Cambridge: Cambridge University Press, 1998
The Cambridge Companion to George Bernard Shaw is an indispensable guide to one of the most influential and important dramatists of the theatre. The volume offers a broad-ranging study of Shaw with essays by a team of leading scholars. The Companion covers all aspects of Shaw's drama, focusing on both the political and theatrical context, while the extensive illustrations showcase productions from the Shaw Festival in Canada. In addition to situating Shaw's work in its own time, the Companion demonstrates its continuing relevance, and applies some of the newest critical approaches. Topics include Shaw and the publishing trade, Shaw and feminism, and Shaw and the Empire, as well as analyses of the early plays, discussion plays and history plays. (Da sito Cambridge University Press)
Vedi indiceList of illustrations
Notes on contributors
Preface
Acknowledgements
Chronology
Part I. The Social and Cultural Context:
1. Shaw's life: a feminist in spite of himself Sally Peters
2. Imprinting the stage: Shaw and the publishing trade, 1893–1903 Katherine E. Kelly
3. New theatres for old Charles A. Berst
4. New women, new plays and Shaw in the 1890s Kerry Powell
Part II. Shaw the Dramatist:
5. Shaw's early plays Frederick J. Marker
6. Shavian comedy and the shadow of Wilde David J. Gordon
7. Paradox and parable: structure and philosophy in Man and Superman and Major Barbara Fredric Berg
8. 'Nothing but talk, talk, talk - Shaw talk': discussion plays and the making of modern drama Christopher Innes
9. The road to Heartbreak House Ronald Bryden
10. Reinventing the history play: Caesar and Cleopatra, Saint Joan, 'In Good King Charles's Golden Days' Matthew H. Wikander
11. Shaw's interstices of Empire: decolonizing at home and abroad Tracy C. Davis
12. The later Shaw T. F. Evans
Part III. Theatre Work and Influence:
13. Shaw and the court theatre Jan McDonald
14. Shaw's plays as music drama J. L. Wisenthal
15. Shaw and the popular context Robert G. Everding
2
Peter Raby
The Cambridge Companion to Harold Pinter . 2nd Edition
Cambridge: Cambridge University Press, 2009
Harold Pinter was one of the world's leading and most controversial writers, and his impact and influence continues to grow. This Companion examines the wide range of Pinter's work – his writing for theatre, radio, television and screen, and also his highly successful work as a director and actor. Substantially updated and revised, this second edition covers the many developments in Pinter's career since the publication of the first edition, including his Nobel Prize for Literature win in 2005, his appearance in Samuel Beckett's play Krapp's Last Tape and recent productions of his plays. Containing essays written by both academics and leading practitioners, the volume places Pinter's writing within the critical and theatrical context of his time and considers its reception worldwide. Including three new essays, new production photographs, five updated and revised chapters and an extended chronology, the Companion provides fresh perspectives on Pinter's work. (Da sito Cambridge University Press)
Vedi indiceChronology
Introduction PETER RABY
Part I. Text and Context:
1. Pinter, politics and postmodernism (1) AUSTIN QUIGLEY
2. Pinter and the 1950s JOHN STOKES
3. The sacred joke: comedy and politics in Pinter's early plays FRANCESCA COPPA
4. Tales of the city: some places and voices in Pinter's plays PETER RABY
5. Pinter and twentieth-century drama RONALD KNOWLES
6. Harold Pinter, screenwriter: an overview STEVEN H. GALE
7. Speaking out: Harold Pinter and freedom of expression MARY LUCKHURST
Part II. Pinter and Performance:
8. Body language in Pinter's plays RICHARD ALLEN CAVE
9. Harold Pinter as director MICHAEL PENNINGTON
10. Directing the plays of Harold Pinter PETER HALL
11. Pinter in Russia CHARLES EVANS
12. Pinter and Ireland ANTHONY ROCHE
13. Pinter's late tapes JOHN STOKES
Part III. Reactions to Pinter:
14. Pinter's sexual politics DREW MILNE
15. Pinter and the critics YAEL ZARHY-levo
16. Pinter as celebrity HARRY DERBYSHIRE
17. Pinter, politics and postmodernism (2) MIREIA ARAGAY
18. The Pinter paradigm: Pinter's influence on contemporary playwriting STEVE WATERS
19. Afterword: Harold Pinter and cricket JOHN FOWLES.
3
Elaine Aston, Janelle Reinelt
The Cambridge Companion to Modern British Women Playwrights
Cambridge: Cambridge University Press, 2000
This Companion, first published in 2000, addresses the work of women playwrights in Britain throughout the twentieth century. The chapters explore the historical and theatrical contexts in which women have written for the theatre and examine the work of individual playwrights. A chronological section on playwriting from the 1920s to the 1970s is followed by chapters which raise issues of nationality and identity. Later sections question accepted notions of the canon and include chapters on non-mainstream writing, including black and lesbian performance. Each section is introduced by the editors, who provide a narrative overview of a century of women's drama and a thorough chronology of playwriting, set in political context. The collection includes essays on the individual writers Caryl Churchill, Sarah Daniels, Pam Gems and Timberlake Wertenbaker as well as extensive documentation of contemporary playwriting in Wales, Scotland and Northern Ireland, including figures such as Liz Lochhead and Anne Devlin. (Da sito Cambridge University Press)
Vedi indiceChronology
1. A century in view: from suffrage to the 1990s Elaine Aston and Janelle Reinelt
2. Women playwrights of the 1920s and 1930s Maggie B. Gale
3. New plays and women's voices in the 1950s Susan Bennett
4. Women playwrights and the challenge of feminism in the 1970s Michelene Wandor
5. The politics of location Susan Bassnett
6. Contemporary Welsh women playwrights Anna-Marie Taylor
7. Contemporary Scottish women playwrights Adrienne Scullion
8. Women playwrights in Northern Ireland Mary Trotter
9. Language and identity in Timberlake Wertenbaker's plays Susan Carlson
10. Pam Gems: body politics and biography Elaine Aston
11. Caryl Churchill and the politics of style Janelle Reinelt
12. Violence, abuse and gender relations in the plays by Sarah Daniels Gabriele Griffin
13. Small island people: black British women playwrights Meenakshi Ponnuswami
14. Writing outside the mainstream Claire MacDonald
15. Lesbian performance Sue-Ellen Case.
4
Peter Raby
The Cambridge Companion to Oscar Wilde
Cambridge: Cambridge University Press, 1997
The Cambridge Companion to Oscar Wilde offers an essential introduction to one of the theatre's most important and enigmatic writers. Although a general overview, the volume also offers some of the latest thinking on the dramatist and his impact on the twentieth century. Part One places Wilde's work within the cultural and historical context of his time and includes an opening essay by Wilde's grandson, Merlin Holland. Further chapters also examine Wilde and the Victorians and his image as a Dandy. Part Two looks at Wilde's essential work as playwright and general writer, including his poetry, critiques, and fiction, and provides detailed analysis of such key works as Salome and The Importance of Being Earnest among others. The third group of essays examines the themes and factors which shaped Wilde's work and includes Wilde and his view of the Victorian woman, Wilde's sexual identities, and interpreting Wilde on stage. This 1997 volume also contains a detailed chronology of Wilde's work, a guide to further reading, and illustrations from important productions. (Dda sito Cambridge University Press)
Vedi indiceList of illustrations and acknowledgements
Notes on contributors
Preface
Chronology
Part I. Context:
1. Biography and the art of lying Merlin Holland
2. Wilde and the Victorians Regenia Gagnier
3. Wilde and the Dandyism of the senses Stephen Calloway
Part II. Wilde's Work:
4. Wilde as poet Karl Beckson and Bobby Fong
5. Wilde the journalist John Stokes
6. Wilde as critic and theorist Lawrence Danson
7. Wilde's fiction(s) Jerusha McCormack
8. Distance, death, and desire in Salome Joseph Donahue
9. Wilde's comedies of society Peter Raby
10. The Importance of Being Earnest Russell Jackson
Part III. Themes and Influences:
11. A verdict of death: Oscar Wilde, actresses, and Victorian women Kerry Powell
12. 'A Complex, Multiform Creature' - Wilde's sexual identities Joseph Bristow
13. Wilde's plays: some lines of influence Richard Allen Cave
14. Wilde on stage Joel Kaplan
15. Oscar Wilde: the resurgence of lying Declan Kiberd
Bibliography
5
Maggie B. Gale, John Stokes
The Cambridge Companion to the Actress
Cambridge: Cambridge University Press, 2007
This Companion brings together sixteen new essays which examine, from various perspectives, the social and cultural role of the actress throughout history and across continents. Each essay focuses on a particular stage in her development, for example professionalism in the seventeenth century; the emergence of the actress/critic during the Romantic period and, later on, of the actress as best selling autobiographer; the coming of the drama schools which led to today's emphasis on the actress as a highly-trained working woman. Chapters consider the image of the actress as a courtesan, as a 'muse', as a representative of the 'ordinary' housewife, and as a political activist. The collection also contains essays on forms, genres and traditions - on cross dressing, solo performance, racial constraints, and recent Shakespeare - as well as on the actress in early photography and on film. Its unique range will fascinate, surprise and instruct theatre-goers and students alike. (Dda sito Cambridge University Press)
Vedi indiceIntroduction Maggie B. Gale and John Stokes
Part I. Turning Points:
1. Revolution, legislation and autonomy Gilli Bush-Bailey
2. Spectacle, intellect and authority: the actress in the eighteenth century Elizabeth Eger
3. Cultural formations: the nineteenth-century touring actress and her international audiences Gail Marshall
4. The actress as photographic icon: from early photography to early film David Mayer
5. The actress and the profession: training in England in the twentieth century Lucie Sutherland
6. 'Out of the ordinary': exercising restraint in the post-war years John Stokes
7. Icons and labourers: some political actresses Tony Howard
Part II. Professional Opportunities:
8. The actress as manager Jo Robinson
9. By herself: the actress and autobiography, 1755–1939 Viv Gardner
10. The screen actress from silence to sound Christine Gledhill
11. 'Side doors and service elevators': racial constraints for actresses of colour Lynette Goddard
Part III. Genre, Form and Tradition:
12. Mirroring men: the actress in drag Jacky Bratton
13. 'Studies in hysteria': actress and courtesan, Sarah Bernhardt and Mrs Patrick Campbell Elaine Aston
14. Beyond the muse: the Spanish actress as collaborator Maria M. Delgado
15. Going solo: an historical perspective on the actress and the monologue Maggie B. Gale
16. Changing Shakespeare Penny Gay.
6
Kerry Powell
The Cambridge Companion to Victorian and Edwardian Theatre
Cambridge: Cambridge University Press, 2004
This 2004 Companion is designed for readers interested in the creation, production and interpretation of Victorian and Edwardian theatre, both in its own time and on the contemporary stage. The volume opens with a brief overview and introduction surveying the theatre of the time followed by an essay contextualizing the theatre within the frame of Victorian and Edwardian culture as a whole. Succeeding chapters examine specific aspects of performance, production, and theatre, including the music, the actors, stagecraft and the audiences themselves; plays and playwriting and issues of class and gender are also explored. Chapters also deal with comedy, farce and melodrama, while other essays bring forward new topics and approaches that cross the boundaries of traditional investigation, including analysis of the economics of theatre and of the theatricality of personal identity. (Da sito Cambridge University Press)
Vedi indiceList of illustrations
Notes on contributors
Preface Kerry Powell
Part I. Introduction:
Before the curtain Nina Auerbach
Part II. Performance and Context:
1. Actors and acting Joseph W. Donohue Jr.
2. The show business economy and its discontents Tracy C. Davis
3. Victorian and Edwardian stagecraft: techniques and issues Russell Jackson
4. Music for the theatre: style and function in incidental music Michael Pisani
5. Victorian and Edwardian audiences Jim Davis and Victor Emeljanow
6. Performing identities: actresses and autobiography Mary Jean Corbett
Part III. Text and Context:
7. Comedy and farce Michael Booth
8. Encountering melodrama David Mayer
9. The Music Hall Jacky Bratton
10. Theatre of the 1890s: Breaking down the barriers Peter Raby
11. New theatres for a new drama Cary M. Mazer
12. The fallen woman on stage: maidens, magdalens, and the emancipated female Sos Eltis
13. Reimagining the theatre: women playwrights of the Victorian and Edwardian period Susan Carlson and Kerry Powell
14. The East End Theatre Heidi Holder
7
by Susan J. Owen (Editor)
A Companion to Restoration Drama
Chichester: Wiley-Blackwell, 2008
This Companion illustrates the vitality and diversity of dramatic work 1660 to 1710. Twenty-five essays by leading scholars in the field bring together the best recent insights into the full range of dramatic practice and innovation at the time.
* Introduces readers to the recent boom in scholarship that has revitalised Restoration drama
* Explores historical and cultural contexts, genres of Restoration drama, and key dramatists, among them Dryden and Behn
Vedi indicePart I: The Drama in Context:.
Introduction: Susan J. Owen (University of Sheffield).
1. The post- 1660 theatres as performance spaces: Edward A. Langhans (University of Hawaii).
2. Restoration Dramatic theory and criticism: Paul D. Cannan (University of Minnesota).
3. Theatrical Regulation During the Restoration Period: Matthew J. Kinservik (University of Delaware).
4. Libertinism and Sexuality: Maximillian E. Novak (University of California).
5. The Restoration Actress: Deborah Payne Fisk (American University in Washington, DC).
6. Masculinity in Restoration Drama: Laura J. Rosenthal (Florida State University).
7. Images of Monarchy on the Restoration Stage: Jessica Munns (University of Denver).
8. Restoration Drama and Politics: an Overview: Susan J. Owen (University of Sheffield).
9. Restoration Drama and Social Class: Aparna Dharwadker (University of Oklahoma).
10. Race, Performance, and the Silenced Prince of Angola: Mita Choudhury (Georgia Institute of Technology).
11. Restoration Drama After the Restoration: the Critics, the Repertory, and the Canon: Brian Corman (University of Toronto).
Part II: Kinds of Drama:.
12. Heroic Drama and Tragicomedy: Derek Hughes (University of Warwick).
13. Restoration Comedy: J. Douglas Canfield (University of Arizona).
14. Tragedy and Varieties of Serious Drama: Jean I. Marsden (University of Connecticut).
15. London Theatre Music, 1660-1719: Todd S. Gilman (Yale University).
16. Shakespeare and Other Adaptations: Sandra Clark (Birbeck College, University of London).
17. Rakes, Wives, and Merchants: Shifts from the Satirical to the Sentimental: Kirk Combe (Denison University).
Part III: Dramatists:.
18. Davenant and Dryden: Richard Kroll (University of California, Irvine).
19. Etherege and Wycherley: Robert Markley (West Virginia University).
20. Shadwell and Durfey: Christopher Wheatley (Catholic University of America).
21. Otway and Lee: Paulina Kewes (University of Wales).
22. Settle, Crowne and Tate: Don-John Dugas (Towson University).
23. Behn and Centlivre: Cynthia Lowenthal (Tulane University).
24. Congreve and Southerne: Miriam Handley (University of Sheffield).
25. Vanbrugh and Farquhar: John Bull (University of Reading).
8
Richard Dutton
The Oxford Handbook of Early Modern Theatre
Oxford etc.: Oxford University Press, 2009
There was no single 'Elizabethan stage'. Early modern actors exploited various opportunities for patronage and profit between the 1570s and 1642, whether touring, or performing at inns, in country houses, in purpose-built theatres, at court, at the universities or at the inns of court. This authoritative and comprehensive collection of new essays explores the social, political, and economic pressures under which the playing companies of Shakespeare and his contemporaries operated. It shows how they evolved over time to meet new challenges such as the opposition of City of London authorities, the possibility of permanent location in London, the re-emergence of boy companies c. 1600, and the great increase in court performance which began under James I. Essays also explore the practical everyday business of playing: acquiring scripts and playhouses, dramatic authorship, the contribution of financiers and entrepreneurs, rehearsing, lighting, music, props, styles of acting, boy actors, and the role of women in an 'all-male' world. A number of contributors address the methodologies of theatre history itself, questioning its philosophical premises and evaluating the nature of the evidence we have, such as that from stage directions in play-books or from the visual records. The collection as a whole offers a challenging account of the world of the players in Tudor-Stuart England, revising old assumptions and so inviting us to explore anew the plays which were written for them and which are their greatest living legacy.
( da sito Oxford University Press)
Vedi indiceWilliam Ingram: Introduction: Early Modern Theatre History: where we are now, how we got here, where we go next
Section A: Theatre Companies
1. W.R. Streitberger: Adult Playing Companies to 1583
2. Sally-Beth MacLean: Adult Playing Companies, 1583 to 1593
3. Roslyn Knutson: Adult Playing Companies, 1593 to 1603
4. Tom Rutter: Adult Playing Companies 1603 to 1613
5. James Marino: Adult Playing Companies 1613 to 1625
6. Martin Butler: Adult playing companies 1625 to 1642
7. Michael Shapiro: Early (pre-1590) Boy Companies & their Acting Venues
8. Mary Bly: The boy companies 1599-1613
Section B: London Playhouses
9. David Kathman: Inn-yard Playhouses
10. Gabriel Egan: The Theatre in Shoreditch, 1576-1599
11. Andrew Gurr: Why the Globe is Famous
12. Ralph Alan Cohen: The Most Convenient Place: The Second Blackfriars Theatre and Its Appeal
13. Mark Bayer: The Red Bull Playhouse
14. Frances Teague: The Phoenix and the Cockpit-in-Court Playhouses
Section C: Other Playing Spaces
15. Suzanne Westfall: 'He who pays the piper calls the tune': Household Entertainments
16. Alan H. Nelson: The Universities and the Inns of Court
17. Peter Greenfield: Touring
18. John H. Astington: Court theatre
19. Anne Lancashire: London Street Theatre
Section D: Social Practices
20. Alan Somerset: Not Just Sir Oliver Owlet: From Patrons to 'Patronage' of Early Modern Theatre
21. Richard Dutton: The Court, The Master of the Revels and The Players
22. Susan Cerasano: Theatre Entrepreneurs and Theatrical Economics
23. Ian W. Archer: The City of London and the Theatre
24. David Kathman: Players, Livery Companies, and Apprentices
25. Kathleen E. McLuskie: Materiality and the Market: the case of the Lady Elizabeth's Men. The Lady Elizabeth's Men and the challenge of theatre history
26. Heather Hirschfeld: 'For the author's credit': Issues of Authorship in English Renaissance Drama
27. Natasha Korda: Women in the Theatre
Section E: Evidence of Theatrical Practices
28. Jacalyn Royce: Early Modern Naturalistic Acting: The Role of the Globe in the Development of Personation
29. Tiffany Stern: Actors' Parts
30. Alan C. Dessen: Stage Directions and the Theatre Historian
31. R. B. Graves: Lighting
32. Lucy Munro: Music and sound
33. Andrew Sofer: Properties
34. Thomas Postlewait: Eyewitnesses to History: Visual Evidence for Theatre in Early Modern England
35. Eva Griffith: Christopher Beeston, His Property and Properties
Composite Bibliography
Index
Nascondi9
Bertinetti Paolo
Storia del teatro inglese dalla Restaurazione all'Ottocento: 1660-1895
Torino: Einaudi, 2006.
Questo volume traccia lo sviluppo del teatro inglese dalla Restaurazione del 1660, che riaprí i teatri chiusi dai puritani di Cromwell nel 1642, fino alla fine dell'Ottocento, quando la rivoluzione naturalistica da cui sarebbe nato il teatro moderno si apprestava, faticosamente, ad approdare anche sulle scene inglesi. (Da sito Einaudi)
Vedi indice- La riapertura dei teatri.
- La rinascita della commedia.
- I percorsi della commedia.
- La commedia di William Congreve.
- Vanbrugh e Farquhar. Con una conclusione sulla commedia della Restaurazione.
- La tragedia, la tragicommedia e l'opera. Dal 1660 al 1750.
- La commedia del primo Settecento e i generi minori.
- Il teatro di Garrick e di Sheridan.
- Il teatro dell'Ottocento. I teatri, gli attori, il «music hall», il «melodrama» e i generi minori.
- Il teatro dell'Ottocento. La letteratura drammatica.
- Bibliografia essenziale.
- Indice dei nomi.
- Indice delle opere.
10
Imperiali Isabella, Lombardo Agostino
Storia del teatro inglese: dal Medioevo al Rinascimento
Roma: Carocci, 2001
In questo […] volume, che prende in considerazione il periodo che va all’incirca dal X al XVII secolo, dopo un percorso attraverso le forme e i luoghi del teatro dal Medioevo al Rinascimento tracciato da Isabella Imperiali - in cui vengono esposti i risultati di un grande lavoro di ricerca, di passione filologica e di sintesi - Agostino Lombardo passa ad esaminare gli aspetti più propriamente poetici del patrimonio teatrale medievale, in una sorta di complementare controcanto fra aspetti materiali ed estetici. (Da sito Carocci)
Vedi indiceForme e luoghi del teatro dal Medioevo al Rinascimento, di I. Imperiali
Il teatro della Chiesa
Il teatro della città
Rappresentazioni all’aperto e al chiuso
Le grandi compagnie a Londra
Poesia e poetica del teatro dal Medioevo al Rinascimento, di A. Lombardo Cronologia, a cura di M. Valentini
Bibliografia, a cura di I. Imperiali
Indice dei nomi
11
Anzi Anna, Guardamagna Daniela
Storia del teatro inglese: il teatro giacomiano e carolino
Roma: Carocci, 2002
In questo […] volume, Daniela Guardamagna offre un'appassionante ricostruzione della vita teatrale inglese del periodo che va dalla morte di Elisabetta (1603) alla fine del regno di Carlo I (1642), inserendola nel clima politico e intellettuale dell'epoca. Anna Anzi concentra invece la sua attenzione sul genere del masque, ovvero lo spettacolo di corte inglese, che vide attivi autori quali Ben Jonson e scenografi del calibro di Inigo Jones. (Da sito Carocci)
Vedi indiceIl teatro del periodo giacomiano e carolino, di Daniela Guardamagna -
Introduzione - Thomas Middleton - Thomas Dekker - Thomas Heywood - Ben Jonson - George Chapman - John Marston - The Revenger's Tragedy - Cyril Tourneur - Francis Beaumont e John Fletcher - John Webster - Philip Massinger - John Ford - James Shirley e Richard Brome
Masque, di Anna Anzi - Masque ovvero “spettacolo di corte inglese” - Metateatro: dal dumb-show al masque-within-the-play
Cronologia, a cura di Maria Valentini
Bibliografia
Indice dei nomi
12
Sestito Marisa
Storia del teatro inglese: la Restaurazione e il Settecento
Roma: Carocci, 2002
Il vasto progetto di una Storia delle letterature di lingua inglese, diretta da Agostino Lombardo, uno dei nostri maggiori anglisti, che la casa editrice ha avviato da diversi anni e nell'ambito del quale sono già apparsi sei volumi, prosegue ora con questa Storia del teatro inglese, la cui trattazione pur concepita in maniera unitaria, è stata suddivisa in cinque libri: Dal Medioevo al Rinascimento, L'età di Shakespeare, Il teatro giacomiano e carolino, La Restaurazione e il Settecento, L'Ottocento e il Novecento. Questo quarto volume prende avvio dal 1660, data cruciale nella storia del teatro e della società inglesi. Il ritorno di Carlo II Stuart dall'esilio francese, la sua fertile 'intrusione' nelle cose di teatro, schiudono una splendida stagione di creatività, sperimentazione ed elaborazione teorica: si lavora ai generi, quelli 'puri' di commedia e tragedia, quelli ibridi e talora stravaganti di tragicommedia, tragedia eroica, opera. Il lungo percorso da Davenant a Sheridan è variegato e complesso, tracciato da operosi artigiani e grandi artisti, che dialogano con il loro tempo interpretandolo attraverso immagini problematiche o miti, aggressive o consenzienti. (Da sito Carocci)
Vedi indice1. Il nuovo teatro
2. La commedia
3. Le donne
4. La tragedia
5. Protagonisti settecenteschi
Cronologia
Bibliografia
Indice dei nomi
13
Lombardo Agostino, Tarantino Elisabetta
Storia del teatro inglese: l'età di Shakespeare
Roma: Carocci, 2001
In questo […] volume vengono presi in considerazione non soltanto i principali autori e la loro produzione, ma anche i luoghi, le modalità e la ricezione del fenomeno teatrale, secondo una pluralità di punti di vista e di approcci quanto mai varia e feconda. Nella prima parte, Elisabetta Tarantino ci restituisce l’ambiente e le figure che fanno da sfondo alla grande stagione teatrale shakespeariana: Thomas Kyd, Christopher Marlowe, George Peele, John Lyly. Nelle seconda parte, invece, Agostino Lombardo concentra la propria attenzione sugli aspetti più squisitamente poetici e culturali e sulla fortuna italiana di Shakespeare: sintetica summa delle esperienze di una vita di studi e di traduzioni, sorta di dialogo a distanza fra l’anglista e l’opera del grande drammaturgo d’intenso fascino, oltrech di profonda erudizione. (Da sito Carocci)
Vedi indiceDal regno di Elisabetta I all’avvento di Shakespeare, di E. Tarantino Kyd, Marlowe e gli University Wits • William Shakespeare (1564-1616), di A. Lombardo. La vita, le opere / La fortuna in Italia / Cronologia delle opere.
14
Bertinetti Paolo
Il teatro inglese: storia e capolavori
Torino: Einaudi, 2013.
In modo conciso, e tuttavia esauriente, il volume illustra le caratteristiche e il senso dei lavori e delle esperienze che dal tardo Medioevo in poi hanno dato vita e hanno costituito la vita del mondo teatrale inglese, cercando di dar conto degli autori piú importanti e dei loro testi maggiori, di ciò che di quella produzione vastissima costituisce il patrimonio piú duraturo e universale. La seconda parte del manuale contiene le schede relative a cento testi teatrali inglesi che sarebbe peccato non conoscere. Non necessariamente i maggiori in assoluto, non fosse altro per il fatto che anche i meno riusciti dei testi di Shakespeare - quelli che qui non compaiono - sono pur sempre superiori a buona parte dei testi del Novecento qui inclusi. E tuttavia le cento schede raccolte vanno comunque a formare un attendibile inventario di quanto, all'interno della produzione drammatica inglese, è in grado di superare differenze storiche, linguistiche e culturali per proporsi come repertorio ideale ai teatri di tutto il mondo. (Da sito Einaudi)
Vedi indiceAvvertenza
Parte prima
I. Il teatro medievale e rinascimentale
II. Il teatro elisabettiano
III. Shakespeare
IV. Il primo Seicento
V. Il teatro della Restaurazione
VI. Il Settecento
VII. Il teatro dell'Ottocento
VIII. Il primo Novecento
IX. Il secondo Novecento
X. Appena ieri, oggi e domani
Parte seconda
Cento capolavori
Indice per autori
Indice delle opere
Indice dei nomi
Nascondi15
Attolini Giovanni
Gordon Craig
(Biblioteca universale Laterza. Il teatro del XX secolo)
Roma; Bari: Laterza, 1996
I grandi protagonisti del teatro del XX secolo, in una serie che ne ricostruisce le invenzioni, gli spettacoli, la visione d'insieme. Ogni volume fornisce un esauriente ritratto critico, un'antologia essenziale dei testi, una bibliografia aggiornata.
Vedi indiceIntroduzione
I. L'Arte del Teatro: una Religione
II. Il problema del linguaggio: la «riteatralizzazione» del teatro
III. Gli «elementi» dell'arte scenica
IV. Lo «Stage-Director»
V. L'attore e la Supermarionetta
VI. La Supermarionetta e gli «screens»
VII. Dopo l'Amleto
VIII. Craig e il teatro del primo Novecento
IX. Cenni biografici
Opere di Gordon Craig
Antologia
I. Scritti di Craig
II. La critica
Bibliografia
Illustrazioni
16
Melchiori Giorgio
Shakespeare: genesi e struttura delle opere
Roma; Bari: Laterza, 2014
Un grande classico sulle opere teatrali di Shakespeare ad opera di uno dei suoi studiosi più eminenti. Il volume dà conto di ciascuna delle quaranta opere teatrali e ricostruisce il processo creativo del maggior drammaturgo di tutti i tempi, inquadrandolo nel contesto di una vita dedicata per intero a una professione soggetta alle esigenze dello spettacolo, alle condizioni sempre mutevoli delle scene londinesi, ai condizionamenti e agli stimoli di un pubblico variegato e partecipe, e infine alle interferenze di una censura sempre vigile in un clima di profonda e rapida evoluzione. (Da sito Laterza)
Indice non disponibile