John Barrymore, Shakespearean ActorJohn Barrymore's Richard III and Hamlet, first seen in New York during the 1919-20 and 1922-23 seasons, stand as high-water marks of twentieth-century Shakespearean interpretation. Michael Morrison reconstructs these historic performances through analysis of the production preparation, audience response, reviews, and memoirs. Tracing the Victorian and Edwardian antecedents of Shakespearean performance, this book situates Barrymore's distinctive contribution in light of past and ensuing tradition. As well, it provides a biographical sketch of one of the most revered and tragic actors of the twentieth century. "This young artist, profiting by the lessons of tradition...casts it boldly aside and emerges into the rarefied atmosphere of a new art, greater because it is new, stronger because it is built upon an old foundation." Brooklyn Times, March 9, 1920 |
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Page viii
... Jones 15. Margaret Carrington 16. Robert Edmond Jones's drawing for the wooing of Lady Anne 17. Richard , Duke of Gloucester 59 77 85 91 18. Queen Elizabeth ( Evelyn Walsh Hall ) with her ladies - in - waiting 19. Richard as king 99 103 ...
... Jones 15. Margaret Carrington 16. Robert Edmond Jones's drawing for the wooing of Lady Anne 17. Richard , Duke of Gloucester 59 77 85 91 18. Queen Elizabeth ( Evelyn Walsh Hall ) with her ladies - in - waiting 19. Richard as king 99 103 ...
Page x
... Jones , helped to revitalize Shakespearean acting and production in America and Great Brit- ain and changed the direction of subsequent revivals . Barrymore's Richard III and Hamlet are generally acknowledged to be two of the most ...
... Jones , helped to revitalize Shakespearean acting and production in America and Great Brit- ain and changed the direction of subsequent revivals . Barrymore's Richard III and Hamlet are generally acknowledged to be two of the most ...
Page xi
... Jones pro- ductions can be viewed in retrospect as a revolutionary bridge between Victo- rian and modern methods of ... Jones , pioneering American practitioners of the New Stagecraft . The second and third chapters examine in detail the ...
... Jones pro- ductions can be viewed in retrospect as a revolutionary bridge between Victo- rian and modern methods of ... Jones , pioneering American practitioners of the New Stagecraft . The second and third chapters examine in detail the ...
Page xvi
... Jones ; to Margaret Hus- ton Walters for unpublished writings by Margaret Carrington ; to Phyllis Wilbourne for Constance Collier's unpublished essay on John Barrymore's acting ; to the University of Pennsylvania Special Collections for ...
... Jones ; to Margaret Hus- ton Walters for unpublished writings by Margaret Carrington ; to Phyllis Wilbourne for Constance Collier's unpublished essay on John Barrymore's acting ; to the University of Pennsylvania Special Collections for ...
Page 3
... Jones , had created a theatrical land- mark . Barrymore's performance was praised as a welcome departure from the ... Jones to present Hamlet . The production opened on 16 November 1922 to near- unanimous critical acclaim : Barrymore's ...
... Jones , had created a theatrical land- mark . Barrymore's performance was praised as a welcome departure from the ... Jones to present Hamlet . The production opened on 16 November 1922 to near- unanimous critical acclaim : Barrymore's ...
Contents
The Education of an Actor 18821919 | 32 |
The Productions | 67 |
Richard III 1920 | 69 |
Hamlet 19221924 | 122 |
The London Hamlet 1925 | 242 |
Aftermath | 261 |
Shakespeare in Hollywood 19251942 | 263 |
Epilogue | 299 |
Appendixes | 307 |
The Casts | 309 |
The Texts | 323 |
Notes | 331 |
385 | |
393 | |
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Common terms and phrases
17 November acting actor Adams Alexander Woollcott American appeared April Arthur Hopkins artistic audience Barry Barrymore's Barrymore's performance Blanche Yurka Broadway cast chair character Clown comedy costumes critics debut decade December drama Edwin Booth exit Fay Compton February film Forbes-Robertson Fowler Gene Fowler Ghost Guildenstern Hamlet Hampden Henry Hollywood Hopkins's Horatio house curtain Irving January John Barrymore Jones's King Laertes left center letter to Michael lights Lincoln Center lines London lord Macbeth mainstage mance Marcellus March Margaret Carrington Michael Strange noted Ophelia Osric platform play Player Polonius production promptbook Queen radio rehearsals repertory replies revival Richard Richard III right center Robert Edmond Jones role Rosencrantz scene second season Shakespeare Shakespearean Sheldon soliloquy Soon afterward Sothern and Marlowe speak speech steps Studybook Sweet Prince Taylor tells Theatre Collection theatrical throne tion tour tradition turns UCB/SC upstage voice weeks William Woollcott wrote York