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- Author: David Roberts
- Publisher: Palgrave Macmillan
- ISBN-10: 3031522087
- ISBN-13: 9783031522086
- Format: 14.8 x 21 x 0.8 cm, kieti viršeliai
- Language: English
- SAVE -10% with code: EXTRA
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Description
Since its 1967 production of Vanbrugh's The Relapse, the Royal Shakespeare Company has been the world's leading producer of Restoration Comedies. This book is the first to document and critique the company's history of engagement with that repertoire. It reviews the spaces in which productions have been performed, design principles, casting, voicing, textual adaptation, musical direction, actor perspectives, and the problems of how to confront, adopt or depart from received notions of Restoration style. It goes on to posit that, for all the RSC's explorations of Restoration Comedy, the company has
maintained the repertoire as a fringe interest played out in niche spaces, while recycling many of the assumptions it claims to challenge, and that what is needed is the writer-led intervention seen in RSC and National Theatre adaptations of French drama from the same period. Only then can Restoration Comedy begin to engage wider audiences in new sites of political, historical and cultural meaning.
EXTRA 10 % discount with code: EXTRA
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- Author: David Roberts
- Publisher: Palgrave Macmillan
- ISBN-10: 3031522087
- ISBN-13: 9783031522086
- Format: 14.8 x 21 x 0.8 cm, kieti viršeliai
- Language: English English
Since its 1967 production of Vanbrugh's The Relapse, the Royal Shakespeare Company has been the world's leading producer of Restoration Comedies. This book is the first to document and critique the company's history of engagement with that repertoire. It reviews the spaces in which productions have been performed, design principles, casting, voicing, textual adaptation, musical direction, actor perspectives, and the problems of how to confront, adopt or depart from received notions of Restoration style. It goes on to posit that, for all the RSC's explorations of Restoration Comedy, the company has
maintained the repertoire as a fringe interest played out in niche spaces, while recycling many of the assumptions it claims to challenge, and that what is needed is the writer-led intervention seen in RSC and National Theatre adaptations of French drama from the same period. Only then can Restoration Comedy begin to engage wider audiences in new sites of political, historical and cultural meaning.
Reviews