All's Well That Ends Well by William Shakespeare, Jonathan Bate
By William Shakespeare, Jonathan Bate
"A younger guy married is a guy that's marr'd."
--All's good That Ends Well
Eminent Shakespearean students Jonathan Bate and Eric Rasmussen supply a clean re-creation of this vintage play approximately gender, wish, and sexual love.
THIS quantity additionally contains greater than 100 PAGES OF specific FEATURES:
• an unique advent to All's good That Ends Well
• incisive scene-by-scene synopsis and research with important proof in regards to the work
• statement on prior and present productions in line with interviews with major administrators, actors, and designers
• images of key RSC productions
• an summary of Shakespeare's theatrical profession and chronology of his plays
Ideal for college students, theater execs, and basic readers, those smooth and obtainable variants from the Royal Shakespeare corporation set a brand new common in Shakespearean literature for the twenty-first century.
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Extra info for All's Well That Ends Well
It arrives through the agency of cigarette papers smuggled in mouths from a prison, a tape recorder, paper and pen, debate and argument. It is begun by men, and taken forward with a deeper agenda by women. It is part reportage, part text, and part improvisation. A particular issue, interrogation, becomes a prism through which other experiences are refracted. However, while the script exists, and can be re-interpreted, what cannot be reproduced is this process, the collective ‘method’ by which the play came to be made.
One mentions Patsy Mulligan - she has been lifted again. It becomes clear Patsy has been leading the campaign against strip-searching. She is a militant, and they admire her. Her struggle is theirs, it is symptomatic, historical, and the community owns it. It is also, and this is now becoming apparent, a struggle about the double oppression of women. The lights fade. Scene Seven We are back in the interrogation room. Haddock jumps to his feet, screaming into Patsy’s face, banging the table: HADDOCK: I’m biased?
We make our way into the theatre. The room is long and narrow, with a roughly constructed stage at one end. I note the number of children in the audience. RadicalLayout 10/2/05 11:23 am Page 36 image is held as he begins to sing. The song is Behan’s The Auld Triangle. His voice is beautiful, clear and youthful. From the rear of the hall another voice joins in, deeper, more powerful. The duet encloses us, as past and present meet: the continuity of struggle, and of art’s response to it, is implicit.