Titlebook: Antony and Cleopatra; Michael Scott Textbook 1983Latest edition Macmillan Publishers Limited 1983 Britain.history of literature.literature

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Epameinondas Troulinos,Efthimios Tambouris, George Bernard Shaw, reacting against romantic interpretations, condemned the scene as sentimentally unrealistic. ‘Shakespear’, he says, ‘finally strains all his huge command of rhetoric and stage pathos to give a theatrical sublimity to the wretched end of the business, and to persuade foolish sp

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Lecture Notes in Computer Scienceor at the much smaller . theatre, holding about 400. Either way, the part of Cleopatra would have been taken by a boy actor, as would the roles of Iras, Charmian and Octavia. Even if presented at ., the play’s impact would not have lacked immediacy, even intimacy; such was the design of the theatre

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Lecture Notes in Computer Scienceom his rehearsals, practicality demands that major decisions concerning the construction, or non-construction, of the set have to be made early. Such decisions naturally impose artistic limitations on the company and its interpretations of the drama.

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https://doi.org/10.1007/978-3-030-58141-1 Cleopatras we are considering — Vivien Leigh in 1951, Janet Suzman in 1972, Glenda Jackson in 1978, and Jane Lapotaire in 1980 — form interesting contrasts. The historical Cleopatra was not outstandingly good-looking, although the world’s imaginative concept of her is one of great physical beauty.

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Lecture Notes in Computer Scienceise themselves. The relationship between the two characters requires a difficult balance of contrasting temperament which can pose real dilemmas for a casting director. Antony has to be considered in terms of his Cleopatra (or vice versa), of his infatuation, and of his past and present role as comm

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,Charge Ordering and?Phase Separation,y on the conception of the lovers: Olivier’s tragic fall was understandable in the context of Leigh’s quiet beauty; Johnson’s aging pragmatist complemented Suzman’s sensual politician; Howard’s despair discovered a strength in Jackson’s calm; Blakely’s weary dissolute found refuge in Lapotaire’s nee

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The Queen of Loveinal scene, one does not really know what motivates her being; and even in her death questions remain around her. The task then is to act an enigma. Yet in order to do this Shakespeare has given a few clues to his artist. The most significant comes in the last act where the Queen talks of her future in history:

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