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 offer a clean re-creation of this vintage play approximately gender, hope, and sexual love.
THIS quantity additionally comprises greater than 100 PAGES OF unique FEATURES:
• an unique creation to All's good That Ends Well
• incisive scene-by-scene synopsis and research with very important proof concerning the work
• observation 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 occupation and chronology of his plays
Ideal for college students, theater execs, and normal readers, those smooth and available variants from the Royal Shakespeare corporation set a brand new commonplace in Shakespearean literature for the twenty-first century.
Read Online or Download All's Well That Ends Well PDF
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Extra resources for All's Well That Ends Well
Twenty years ago’, wrote one reviewer in 1977, ‘when the play was new, everyone was trying to ﬁgure out what it meant, and it all had to be a symbol of something else. Here [in this production] the question of meaning never comes up. Like any good story, it means itself’ (qtd in Croall 2005, p. 102). But what does ‘it means itself’ mean? And does not worrying about meaning equate with ‘understanding’, or even with the best form of appreciation? Several statements by the author suggest that he would think so, but in this area it is important to discriminate between exasperated dismissals and helpful pointers.
We may invent pasts for the individual characters – and indeed certain details could even be said to invite us to do this. If we are actors, we may regard such invention as a necessary way of working towards the end that is performance. But ultimately that is our business: the text of the play, even if it occasionally teases us, gives us no conﬁrmation, no resolution. Thus, as far as character was concerned, criticism noted the distinguishing features of these ﬁgures and showed how they interacted or interlocked, one with the other.
Pseudocouple’ is ideally suggestive because it takes away ‘couple’ even as it gives it. Mercier and Camier are not, or not merely, interdependent but (as when falling) interindependent – both interdependent and independent yet not quite either of those. Like all portmanteau words, this is a verbal pseudocoupling. It registers eﬀectively not just the tendency towards mutual reliance but the residual tensions of separateness. Although the interindependence is not only verbal, in Waiting for Godot it is ﬁrst of all verbal.
All's Well That Ends Well by William Shakespeare, Jonathan Bate