Libros de Teatro, página 34 de 396

This is the first fully annotated critical edition of King Lear to appear for forty years. It includes a comprehensive account of Shakespeare's sources and the literary, political, and folkloric influences at work in the play; a detailed reading of the action, and a substantial stage history of major productions. Unlike previous editions, this one does not present a conflation of the Quarto and the Folio, but offers the latter as the authoritative text.

Shakespeare, who clearly preferred his women characters to his men (always excepting Falstaff and Hamlet), enlarges the human from the start, by subtly suggesting that women have the truer sense of r

El Espíritu Santo es ser representado por actores y demonios, que con los mismos se han visto en sus adentros. Siendo teatro, es un guiño insignificante hacia nosotros, el aburrimiento de tales espíritus, es el arte en el mundo a apariencias urbanas por almas, cual obra profesada desde ansias moribundas en arte.Un libro de lagrimas rotas y reproches, y yo, aconsejando de el, demencia mundana a la gran cruz en su destruccion prodiga.De miradas, Sequera desentierra tempos a una luz misma por inexistente que amada, muerte negra al ensueño de piel mediante el sufrimiento deseado a tan voluntad, a alma viva y, ante todo, existencial soledad, inadvertida e inadvertida, la totalidad, son conexiones metafisicas de la verdad.De la verdad, de la misma, oscurecidas la especie, y la muerte, el juego que queda seducido en si mismo para la fraternidad y la mentira universales.

The Reformation (1673), attributed to Joseph Arrowsmith, is an amusing satire on the libertine manners of the Stuart court. A group of young men in Venice set up a society to reform sexual mores a la mode dAngleterre and liberate women from the tyranny of fathers and husbands. Described by a contemporary critic as the Reverse to the Laws of Morality and Virtue, the play was quickly withdrawn from the stage. The comedy also offers a burlesque portrait of Poet Laureate John Dryden, poking fun at his critical opinions and dramatic production. This is the firts critical edition of the play. The editors place it in its social and cultural context and present a fully annotated text, which enables todays reader to enjoy and understand Arrowsmiths lively picture of Restoration life.

Harold Bloom on The Merchant of Venice: "Shylock''s prose is Shakespeare''s best before Falstaff''s...His utterances manifest a spirit so potent, malign, and negative as to be unforgettable."

When young Phoebe asks Sir Philip Freewit, the man who has got her with child, to fulfil his promise and marry her, he replies with shock: "My wife! Then I should never love thee more". Thomas Durfeys The Marriage-Hater Matched (1692) pokes fun at the figure of the libertine rake, which had become a favourite dramatic type with Restoration theatregoers, and forces him in the end to make up for his past recklessness. Besides the marriage- hater and the two women that vie for his affections, a remarkable gallery of secondary characters people this amusing comedy: a Frenchified lady fawning on her lap-dog, a fat clownish Dutchman laughing at his own jokes, an impertinent match-making widow obsessed with food, a peevish old-fashioned courtier, a pert lisping ingenue and two rude boobies bearing the names of Greek philosophers. This first modern critical edition offers a fully annotated text in addition to an introduction that situates the comedy in its literary and theatrical contexts. The editors discuss at length how Durfey drew upon successful comic modes while at the same complying with the moral values advocated by the new monarchs, William and Mary (1688-1702).

Packed full of eloquent stings and poisonous putdowns from the bard himself this is the perfect resource for anyone looking to scorn an enemy without resorting to swearing

Founded 20 years ago in London by the dancer and choreographer Akram Khan (born 1974) and the producer Farooq Chaudhry, Akram Khan Company has become one of the most dynamic troupes on the international contemporary dance scene. Trained in Kathak, Khan has created an innovative choreographic language that fuses the vocabulary of traditional Indian dance with contemporary dance. His performances also feature collaborators from a vast array of disciplines: he has collaborated with the dancer Sylvie Guillem, the actress Juliette Binoche, the artists Antony Gormley and Anish Kapoor, the choreographer and dancer Sidi Larbi Cherkaoui, Israel Galvan and Kylie Minogue, among others.This beautifully illustrated book is the first monograph on Khan, appraising two decades of his ceaseless production and the 26 pieces created by Akram Khan Company since its foundation.

Based on a pair of comic dramas from ancient Rome, The Comedy of Errors presents a spectacle of pure farce in the spirit of utmost fun and--as the title suggests--hilarious confusion. Two sets of identical twins provide the basis for ongoing incidents of mistaken identity, within a lively plot of quarrels, arrests, and a grand courtroom denouement. One of Shakespeares earliest dramatic efforts, the play abounds in his trademark conceits, puns, and other forms of fanciful wordplay. It also foreshadows his later and greater comedies, offering students and scholars a valuable key to the playwrights development.