Women as Hamlet: Performance and Interpretation in Theatre, Film and FictionCambridge University Press, 22 de febr. 2007 - 329 pàgines The first Hamlet on film was Sarah Bernhardt. Probably the first Hamlet on radio was Eve Donne. Ever since the late eighteenth century, leading actresses have demanded the right to play the role - Western drama's greatest symbol of active consciousness and conscience. Their iconoclasm, and Hamlet's alleged 'femininity', have fascinated playwrights, painters, novelists and film-makers from Eugène Delacroix and the Victorian novelist Mary Braddon to Angela Carter and Robert Lepage. Crossing national and media boundaries, this book addresses the history and the shifting iconic status of the female Hamlet in writing and performance. Many of the performers were also involved in radical politics: from Stalinist Russia to Poland under martial law, actresses made Hamlet a symbol of transformation or crisis in the body politic. On stage and film, women reinvented Hamlet from Weimar Germany to the end of the Cold War. This book aims to put their half-forgotten achievements centre-stage. |
Continguts
Secció 1 | 3 |
Secció 2 | 13 |
Secció 3 | 35 |
Secció 4 | 37 |
Secció 5 | 65 |
Secció 6 | 77 |
Secció 7 | 78 |
Secció 8 | 83 |
Secció 12 | 106 |
Secció 13 | 107 |
Secció 14 | 117 |
Secció 15 | 137 |
Secció 16 | 141 |
Secció 17 | 150 |
Secció 18 | 160 |
Secció 19 | 183 |
Secció 9 | 85 |
Secció 10 | 88 |
Secció 11 | 98 |
Secció 20 | 184 |
Secció 21 | 206 |
Secció 22 | 265 |
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Women as Hamlet: Performance and Interpretation in Theatre, Film and Fiction Tony Howard Previsualització no disponible - 2009 |
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