Book contents
- Frontmatter
- Shakespeare’s Open Secret
- The Emergence of Character Criticism, 1774–1800
- Society and the Individual in Shakespeare’s Conception of Character
- Realistic Convention and Conventional Realism in Shakespeare
- On Expectation and Surprise: Shakespeare’s Construction of Character
- Shakespeare and the Ventriloquists
- The Rhetoric of Character Construction: Othello
- Characterizing Coriolanus
- The Ironic Reading of The Rape of Lucrece and the Problem of External Evidence
- The Unity of Romeo and Juliet
- No Abuse: The Prince and Falstaff in the Tavern Scenes of Henry IV
- Twelfth Night: The Experience of the Audience
- Plays and Playing in Twelfth Night
- Sceptical Visions: Shakespeare’s Tragedies and Jonson’s Comedies
- Shakespeare in Performance, 1980
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times and Stage
- 3 Textual Studies
- Index
- Plate Section
Shakespeare in Performance, 1980
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- Shakespeare’s Open Secret
- The Emergence of Character Criticism, 1774–1800
- Society and the Individual in Shakespeare’s Conception of Character
- Realistic Convention and Conventional Realism in Shakespeare
- On Expectation and Surprise: Shakespeare’s Construction of Character
- Shakespeare and the Ventriloquists
- The Rhetoric of Character Construction: Othello
- Characterizing Coriolanus
- The Ironic Reading of The Rape of Lucrece and the Problem of External Evidence
- The Unity of Romeo and Juliet
- No Abuse: The Prince and Falstaff in the Tavern Scenes of Henry IV
- Twelfth Night: The Experience of the Audience
- Plays and Playing in Twelfth Night
- Sceptical Visions: Shakespeare’s Tragedies and Jonson’s Comedies
- Shakespeare in Performance, 1980
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times and Stage
- 3 Textual Studies
- Index
- Plate Section
Summary
This article covers the Shakespeare productions which had opened at Stratford-upon-Avon and at Stratford, Ontario by August 1980, four each, and the National Theatre's production of Othello.
The Stratford-upon-Avon season began with Terry Hands's production of As You Like It. An obvious companion-piece to his 1979 Twelfth Night, it was primarily about love, and only very secondarily about anything else: the centre of the play was marvellous, the frame questionable. As with Twelfth Night, a wintry, black-and-white first half gave place to a variegated, dappled world of warm browns and greens in the second. The white fur surfaces of Farrah's set, suggesting luxury at court and snow in the country, were replaced by moss-covered trees and (again as in Twelfth Night) a profusion of daffodils and other spring flowers. Everyone at court wore uniform black and silver, even Rosalind and Celia, whose severe black velvet dresses were edged with more white fur.
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- Information
- Shakespeare Survey , pp. 149 - 160Publisher: Cambridge University PressPrint publication year: 1982