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Today, popular imagination peoples the Middle Ages with damsels in distress and knights riding to their rescue. Of such knights, King Arthur and his companions are the most celebrated. It is certainly true that this is the time when the Arthurian story took shape and Arthurian literature flourished, and that most medieval historians included him in their histories of Britain, though some did so with a considerable degree of scepticism. But how widely was this literature known in its own day? How much credence did people generally place in this king who supposedly once ruled England? To answer these questions, Christopher Dean looks at medieval and Renaissance Arthurian literature in detail, and also examines contemporary chronicles and histories, chivalric theory and practice, popular myths and legends, folk-lore and place-names. The result is to show dramatically that Arthur was not at all as well known as popular belief today fancies. As a historical figure he was early discredited; had it not been for his artificial revival by the Tudor monarchy and the furor caused by the attack upon him by the 'foreigner' Polydore Vergil, which incensed many patriotic Englishmen, his credibility might have disappeared much sooner than it did. Except for Malory's work, medieval Arthurian literature, which often exists in no more than single manuscripts, did not have large audiences. And after 1500, only Edmund Spenser and Thomas Hughes attempted to write seriously on Arthurian themes. Among the ordinary citizens of England, Arthur was hardly known at all, any popular knowledge of him being almost entirely restricted to Wales, Devon, and Cornwall. Elsewhere in Britain the much more familiar figure was Robin Hood. For all the strength of the Arthurian legend as the ultimate medieval knight, he is essentially a modern hero.
(Applause Books). There has been a great change in the last twenty years to actor auditions, which now require the demonstration of enormous flexibility. The actor is often expected to show more range than ever before, and often several shorter audition speeches are asked for instead of one or two longer ones. To stay at the top of his or her game, the Shakespearean actor needs more knowledge of what makes the play tick, especially since the early plays demand a different style from the later ones. Each genre (comedy, history, tragedy) has different requirements. No current monologue book deals directly with the bulk of these concerns. One More unto the Speech, Dear Friends now fills that gap. This three volume set will help actors discover the extra details of humanity that the original folio texts automatically offer. Of Shakespeare's 37 plays, only Pericles is not included. In the trilogy of books there are over 900 separate audition possibilities. This represents about 600 more monologues than are available in any other series. There are four parts to each speech: * A background giving context and approximate timing; * A modern text version; * The original folio version; * Commentary to explain the differences between the two texts including full discussion of the devices peculiar to that speech's genre, the age and gender of the character, and more.
A selection of new and revised essays from eminent scholar and critic Professor Christopher Ricks. Christopher Ricks brings together new as well as substantially augmented critical essays across a wide range. Several derive from his term as the Professor of Poetry at the University of Oxford, when his inaugural lecture engaged with the illuminatingly puzzled relations between poetry and prose. Comparison and analysis (the tools of the critic, as T.S. Eliot insisted) are enlivened by imaginative pairings: of Samuel Johnson with Samuel Beckett, of Norman Mailer with Dickens, of Shakespeare with George Herbert, or of secret-police surveillance in Ben Jonson's Rome with that of Carmen Bugan's Romania. Along Heroic Lines devotes itself to the heroic and to 'heroics' (Othello cross-examined by T.S. Eliot; Byron and role-playing; Ion Bugan, political protest and arrest). This knot is in tension with the English heroic line (Dryden's heroic triplets, Henry James's cadences, Geoffrey Hill's concluding book of prose-poems and how they choose to conclude). All alert to the balance and sustenance of alternate tones that prose and poetry can achieve in harmony.
Secrets of Acting Shakespeare isn’t a book that gently instructs. It is a passionate, yes-you-can guide designed to prove that anybody can act Shakespeare. Patrick Tucker’s classic manual encourages trained and amateur actors alike to look to the original practices of the Elizabethan theatre for inspiration. He explores the ‘cue scripts’ used by actors, who knew only their own lines, to demonstrate the extraordinary way that these plays work by ear. This updated second edition includes: A section dedicated to the modes of address 'thee‘ and 'you‘ A brand new chapter on Original Practices and cue scripts An expanded genealogical chart, showing the interrelations of 92 different characters from the history plays A new discussion of Elizabethan acting spaces – balconies, gates, ramparts and even backstage areas Secrets of Acting Shakespeare is a must-read for actors intrigued by the ‘Original Approach’ to acting Shakespeare, or for anyone curious about how the Elizabethan theater worked.