LEADER 03632nam 2200769 450 001 9910826112503321 005 20170918204700.0 010 $a1-5261-0191-2 024 7 $a10.7765/9781526101914 035 $a(CKB)3710000000529330 035 $a(EBL)4706174 035 $a(MiAaPQ)EBC4706174 035 $a(DE-B1597)660658 035 $a(DE-B1597)9781526101914 035 $a(PPN)242697887 035 $a(EXLCZ)993710000000529330 100 $a20161013h20132013 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aTitus Andronicus /$fMichael D. Friedman with Alan C. Dessen 205 $aSecond edition. 210 1$aManchester, England ;$aNew York, New York :$cManchester University Press,$d2013. 210 4$dİ2013 215 $a1 online resource (329 p.) 225 1 $aShakespeare in Performance 300 $aDescription based upon print version of record. 311 $a0-7190-8252-8 320 $aIncludes bibliographical references and index. 327 $aShakespeare in Performance: Titus Andronicus; Half Title Page ; Title Page ; Copyright ; Dedication ; CONTENTS; LIST OF ILLUSTRATIONS; SERIES EDITORS' PREFACE; PREFATORY NOTE; PREFATORY NOTE TO SECOND EDITION; PART ONE; INTRODUCTION: The Problem; CHAPTER I: From Edward Ravenscroft to Peter Brook ; CHAPTER II: To stylise or not to stylise; CHAPTER III: Trusting the script: Deborah Warner at the Swan; CHAPTER IV: Problems then and now; CHAPTER V: The sense of an ending; CONCLUSION: What price Titus?; PART TWO; SEGUE; CHAPTER I: Jeannette Lambermont, Daniel Mesguich, and Michael Maggio 327 $aCHAPTER II: Peter Stein and Silviu PurcareteCHAPTER III: Gregory Doran; CHAPTER IV: Julie Taymor: 1994 and 1999; CHAPTER V: Yukio Ninagawa, Bill Alexander, Gale Edwards, Richard Rose, and Lucy Bailey; EPILOGUE: Looking toward the future; APPENDIX; BIBLIOGRAPHY; INDEX 330 $aMichael D. Friedman's second edition of this stage history of Shakespeare's Titus Andronicus adds an examination of twelve major theatrical productions and one film that appeared in the years 1989-2009. Friedman identifies four lines of descent in the recent performance history of the play: the stylised, realistic, darkly comic, and political approaches, which culminate in Julie Taymor's harrowing film Titus (1999). Aspects of Taymor's eclectic vision of ancient Rome under the grip of modern fascism were copied by several subsequent productions, making Titus the most characteristic, as well as 410 0$aShakespeare in performance. 606 $aLITERARY CRITICISM / Shakespeare$2bisacsh 610 $aBill Alexander. 610 $aDaniel Mesguich. 610 $aDeborah Warner. 610 $aEdward Ravenscroft. 610 $aGale Edwards. 610 $aGregory Doran. 610 $aIrving Wardle. 610 $aJeannette Lambermont. 610 $aJulie Taymor. 610 $aLucy Bailey. 610 $aMichael Maggio. 610 $aPeter Brook. 610 $aPeter Stein. 610 $aRciahrd Rose. 610 $aShakespeare. 610 $aSilviu Purcarete. 610 $aStanley Wells. 610 $aTitus Andronicus. 610 $aTrevor Nunn. 610 $aYukio Ninagaw. 615 7$aLITERARY CRITICISM / Shakespeare. 676 $a822.33 700 $aFriedman$b Michael D.$01643325 702 $aDessen$b Alan C. 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910826112503321 996 $aTitus Andronicus$93988510 997 $aUNINA