By Richard Cave, Elizabeth Schafer, Visit Amazon's Brian Woolland Page, search results, Learn about Author Central, Brian Woolland,
Ben Jonson and Theatre is an research and get together of Jonson's performs from the perspective of the theatre practitioner in addition to the trainer. Reflecting the expanding curiosity within the wider box of Renaissance drama, this publication bridges the theory/practice divide via debating how Jonson's drama operates in functionality. Ben Jonson and Theatre contains: * discussions with and among practitioners * essays at the staging of the performs * edited transcripts of interviews with modern practitioners the amount contains contributions from Joan Littlewood, Sam Mendes, John Nettles, Simon Russell Beale and Geoffrey Rush, Oscar-winning actor for Shine.
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Additional info for Ben Jonson and the Theatre: Performance, Practice, and Theory
Sometimes the name of a single character arriving late into a scene is set at the heading of the scene but at some distance along the line from the names of the other characters present to indicate her or his subsequent arrival ‘to them’. 7 Herford and the Simpsons, vol. 3:xiv. 8 This was during a panel discussion at the Reading conference that was reporting the findings of several small groups who had been discussing ways of opening up the Jonsonian repertory. 9 No edition of the play published since Herford and the Simpsons repeats Jonson’s way with lineation; all editors split the verse lines in the manner described here.
Interestingly Nettles and Mendes both commented that once that pace was found, it was not noticeably deviated from throughout a run of performances: both TheDevil is an Ass and The Alchemist sustained a near-identical running-time at Stratford throughout the particular season in which they played. The columns are particularly accentuated in the text of the second Folio as they are separated by a grid of clearly defined lines. See Hibbard 1977:93. Not one editor since Herford and the Simpsons exactly copies the layout of the Second Folio for this sequence; most simply break up the song with passages of dialogue for Quarlous, Winwife and Grace.
Are the texts, then, as playtexts somehow at fault? Do they give off the wrong signals and, if so, why? Why do they not on an initial encounter appear to give actors the right kind of purchase on the play by revealing to them the potential their respective roles offer? Or, to hit the bottom line, why are modern actors afraid of encounters with Jonson? If we set aside the myths and stories about Jonson’s relations with actors in his own day and his attack on audiences for not appreciating the excellences of those of his plays which failed to gain enthusiastic applause at their first viewing (issues which editors tend to rehearse in the introductions to the twentieth-century editions of the plays with a relish that must prove daunting to an actor who reads them), will we find any explanation for this state of affairs in the actual texts?
Ben Jonson and the Theatre: Performance, Practice, and Theory by Richard Cave, Elizabeth Schafer, Visit Amazon's Brian Woolland Page, search results, Learn about Author Central, Brian Woolland,