Del 0 - Shakespeare in the Theatre

Shakespeare in the Theatre: Trevor Nunn

Häftad, Engelska, 2020

AvRussell Jackson,Bridget Escolme

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Sir Trevor Nunn is one of the most versatile and accomplished directors in the English-speaking theatre. This book examines his achievements as a director of Shakespeare within the wider context of debates on the cultural politics of Britain’s theatrical institutions in the twentieth and twenty-first centuries. His approach has been marked by the combination of close textual analysis with inventive theatricality, in performance spaces ranging from the large stages of the Royal Shakespeare Company and the National Theatre to the intimacy of the companies’ studio theatres. The principal focus of the book is on Nunn’s work as director of Shakespeare during his artistic directorship of the RSC and the NT. The four core chapters focus in detail on major productions that can be said to have challenged and changed perceptions of the plays, including The Winter’s Tale (RSC, 1969), the ‘Roman Plays’ season (RSC, 1972) and All’s Well That Ends Well (RSC, 1982), and the studio productions of Macbeth (RSC 1976), Othello (RSC, 1989) and The Merchant of Venice (NT, 1999). The study draws on archive material, as well as reviews and other published commentary, including that of actors who have worked with him.

Produktinformation

Utgivningsdatum2020-05-28
Mått129 x 198 x undefined mm
Vikt263 g
FormatHäftad
SpråkEngelska
SerieShakespeare in the Theatre
Antal sidor264
FörlagBloomsbury Publishing PLC
ISBN9781350164574

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List of IllustrationsAcknowledgementsA Note on the TextSeries PrefacePrefaceIntroduction: ‘controlled flamboyance’ and Leavisite analysis1: The Main Stage at Stratford, 1968-722: The Main Stage at Stratford – after the ‘Romans’3: Chamber Shakespeare at the Other Place4: The National Theatre and beyondAppendix: Shakespeare Productions directed by Trevor Nunn at the RSC and the National TheatreNotesBibliographyIndex

I trust Jackson’s reading of that production’s theatrical signals more than I trust my own, in large part because he saw most of the productions he writes about several times, watching as the director made them tighter, deeper, and more finely detailed. Jackson extensively and meticulously documents every production’s design features, acting choices, and critical reception. But I would just as soon forego the documentation and trust Jackson’s memory, his powers of description, and his ability to get to the heart of each production’s aesthetic. Jackson’s book, like Nunn’s aesthetic, is conceptually tight, interpretively deep, and intricately detailed.