David Garrick and the Birth of Modern TheatreMethuen, 2001 - 246 páginas "Actor, director, impresario, author, David Garrick (1717-1779) is the most legendary man of the theatre of modern times. He reformed English theatre practice, established a 'natural' style of acting, and made the profession socially acceptable. As his great friend Dr. Johnson remarked, no actor before Garrick had made so much money nor achieved such an eminent position in society. Not for nothing is the most exclusive club in London named after him: Garrick was the first international 'megastar'." "Garrick's circle of friends was enormous and covered the social spectrum, from lawyers and wine merchants to the most famous men of letters and statesmen of his time: Pope, Boswell, Edmund Burke, Lord Burlington, Lord Chesterfield, the Prime Minister Pitt the Elder, the Lord Chancellor: the Duke of Devonshire, Lord Spencer. In France he counted Diderot, d'Alembert, Baron d'Holbach and the philosophes among his acquaintance. Though never honoured, he was at the very centre of his world." "Drawing on the large amount of source material available - from the accounts of Johnson's friendship with Garrick by James Boswell, through descriptions of his acting by English, French and German critics, to his own diaries and letters - Jean Benedetti has written a lively and fascinating account of Garrick's style and reforms, clearly establishing his pivotal role in the development of acting and directing."--Book Jacket. |
Dentro del libro
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Página 61
... lines straight through without change or pause . But Garrick was interested in complexity of character , in con- tradictory elements in the personality , and this was amply displayed in the tent scene which was also enthusiastically ...
... lines straight through without change or pause . But Garrick was interested in complexity of character , in con- tradictory elements in the personality , and this was amply displayed in the tent scene which was also enthusiastically ...
Página 102
... lines in which Lear fights his tears . Then the writer gives a vivid description of what he saw . We may assume , given Macklin's reaction , that , in essence , if not in detail , this was substantially the performance of April 1742. It ...
... lines in which Lear fights his tears . Then the writer gives a vivid description of what he saw . We may assume , given Macklin's reaction , that , in essence , if not in detail , this was substantially the performance of April 1742. It ...
Página 131
... lines Besides , this Duncan Hath borne his faculties so meek , hath been So clear in his great office , that his virtues Will plead like angels trumpet - tongued ... ( Lines 16-19 ) I am sorry to differ with you about the joining of ...
... lines Besides , this Duncan Hath borne his faculties so meek , hath been So clear in his great office , that his virtues Will plead like angels trumpet - tongued ... ( Lines 16-19 ) I am sorry to differ with you about the joining of ...
Contenido
TWO London | 21 |
THREE The Revolution in Acting | 47 |
FOUR Beginnings at Drury Lane | 71 |
Derechos de autor | |
Otras 8 secciones no mostradas
Términos y frases comunes
Aaron Hill acting actors actress appeared Arthur Murphy artistic audience Boswell brother Burlington career century character Charles Macklin Cibber Clairon classical Colley Cibber Colman Comédie-Française comedy Cordelia Covent Garden critical dancers David Garrick Diderot dramatic Drugger Drury Lane Dublin emotion England English entertainment expressed eyes father favour feeling Fleetwood France French friends Garrick's performance gentleman George gestures ghost Giffard give Goodman's Fields Hamlet hand Ibid ideas James Quin John Johnson King Kitty Clive Lacy Lady leading actors Lear letter Lichfield Lichtenberg lines lived London look Lord Macbeth Macklin manager Memoirs Murphy nature never night Noverre opened passion patent patent theatres Peg Woffington Peter Garrick Pritchard Prompter Quin rehearsal repertoire Rich Richard Richard III role Samuel Johnson scene season Shakespeare Sheridan speech spoke stage Sublime success taste theatre theatrical tion took tragedy turn voice Walmesley wanted whole wine Woffington words wrote
Referencias a este libro
The Cambridge Companion to British Theatre, 1730-1830 Jane Moody,Daniel O'Quinn Sin vista previa disponible - 2007 |