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eBook John Barrymore, Shakespearean Actor (Cambridge Studies in American Theatre and Drama) ePub

by Michael A. Morrison

eBook John Barrymore, Shakespearean Actor (Cambridge Studies in American Theatre and Drama) ePub
Author: Michael A. Morrison
Language: English
ISBN: 0521620287
ISBN13: 978-0521620284
Publisher: Cambridge University Press; y First printing edition (September 28, 1997)
Pages: 418
Category: Humanities
Subcategory: Other
Rating: 4.3
Votes: 677
Formats: doc docx azw mbr
ePub file: 1474 kb
Fb2 file: 1848 kb

Michael Morrison's most readable study vividly recreates act by act the Shakespearean art of one of America's most charismatic and influential modern stage actors. Margot Peters, author of The House of Barrymore

Michael Morrison's most readable study vividly recreates act by act the Shakespearean art of one of America's most charismatic and influential modern stage actors. Margot Peters, author of The House of Barrymore.

product description page. John Barrymore, Shakespearean Actor - (Cambridge Studies in American Theatre and Drama (Hardcover))

product description page. John Barrymore, Shakespearean Actor - (Cambridge Studies in American Theatre and Drama (Hardcover)).

John Barrymore, Shakespearean Actor book.

John Barrymore, Shakespearean actor. Barrymore, John, 1882-1942, Shakespeare, William, 1564-1616, Shakespeare, William, 1564-1616, Shakespeare, William, 1564-1616, Shakespeare, William, 1564-1616, Theater, Theater, Film adaptations, Actors, Acting. Cambridge ; New York, NY, USA : Cambridge University Press. inlibrary; printdisabled; ; china.

Published online by Cambridge University Press: 15 January 2009. Recommend this journal. Export citation Request permission. New Theatre Quarterly.

Michael Morrison's book fills a much needed gap in the large Barrymore biographical canon: it tells the story . A must for all Barrymore fans, actors, and theatre lovers, this book is a treasure. But beware, its story could break your heart. A stunning overview of an American legend.

Michael Morrison's book fills a much needed gap in the large Barrymore biographical canon: it tells the story of Barrymore the artist. Many of the other great biographies of the man and family (Margot Peter's THE HOUSE OF BARRYMORE, anything by James Kotsilibas-Davis, to name only two of many excellent others) understandably short-shrift the details found here, in favor of the fabulous "bon mots" and the large tragic arc of his life. Published by Thriftbooks. com User, 21 years ago.

John Barrymore (born John Sidney Blyth; 1882–1942) was an American actor of stage, screen and radio who appeared in more than 40 plays, 60 films and 100 radio shows. He was the youngest child of the actors Maurice Barrymore and Georgie Drew Barrymore, and his two siblings were Lionel and Ethel; together they were known as America's "Royal Family" of actors, and John was "perhaps the most influential and idolized actor of his day", according to his biographer Martin F. Norden.

The Theatre in America during the Revolution (Cambridge Studies in American Theatre and Drama). Download (pdf, . 2 Mb) Donate Read. Epub FB2 mobi txt RTF. Converted file can differ from the original. If possible, download the file in its original format.

John Barrymore's portrayals of Richard III and Hamlet electrified audiences. Critics proclaimed him one of the greatest actors ever. But Barrymore's life was not all glory. MICHAEL A. MORRISON tells the story of the actor's behind-the-scenes struggles. On March 6, 1920, the Plymouth Theatre in New York was filled to capacity with more than a thousand spectators eager to witness John Barrymore's Shakespearean debut in Richard III. Many in the audience that night were skeptical of Barrymore's ability.

John Barrymore's Richard III and Hamlet, first seen in New York during the 1919-20 and 1922-23 seasons, stand as high-water marks of twentieth-century Shakespearean interpretation. Michael Morrison reconstructs these historic performances through analysis of the production preparation, audience response, reviews, and memoirs. Tracing the Victorian and Edwardian antecedents of Shakespearean performance, this book situates Barrymore's distinctive contribution in light of past and ensuing tradition. As well, it provides a biographical sketch of one of the most revered and tragic actors of the twentieth century. "This young artist, profiting by the lessons of tradition...casts it boldly aside and emerges into the rarefied atmosphere of a new art, greater because it is new, stronger because it is built upon an old foundation." Brooklyn Times, March 9, 1920
Whiteseeker
The bard is the genius of the theatre: William Shakespeare (1564-1616). The Barrymore is John (1862-1942). In the 1920s productions in New York and London of Richard III and Hamlet the player from Philadelphia lightened the Great White Way with his superb impersonations of the hunchbacked Machiavellian and the brooding Dane.
Michael Morrison's excellent theatrical history of those productions
casts the limelight on both the history of Shakespearean production and the emergence of Barrymore.
Barrymore had been known as a light comedian. Yet in Richard III and Hamlet he reached the heights of Shakespearean acting brilliance joining such luminaries as Edwin Booth, Sir Henry Irving and David Garrick in the pantheon of great tragedians.
John Barrymore was a rake who died an early death due to his alcoholism and related problems. He was married four times. Following the Shakespearean plays of the 1920s he went to Hollywood to star in such hits as "Twentieth Century"; "Grand Hotel"; "Romeo and Juliet (in the role of Mercutio): "Counselor At Law" and others. While many films were hits he failed to reach his potential as a Shakespearean actor.
Barrymore is important in the Shakespearean stage history of America because:
a. He served as a transition figure from the gentle Prince Hamlet tradition of the Victorian theatre to a more Freudian psychological approach.
b. He provided audience goers with a more physical and sexual Richard III and Hamlet. John Barrymore seemed to speak the lines as if he had just thought of them for the first time. He added realism to a theatregoers perception of the action on stage.
c. He spoke Shakespeare in a less bombastic style than earlier tragedians. He did, however, at times revert to being a ham on stage.
d. Morrison shows how director Arthur Hopkins and his stage designer Robert Jones effectively used lighting and European concepts of staging to give Shakespeare a more contemporary impact to Shakesperean productions.
e. Barrymore influenced a generation of Shakespeareans who would follow him such as Laurence Olivier, John Gielgud and Maurice Evans.
Barrymore studied hard to make his transition from light comedy to Shakespeare. He trained his voice; studied the texts of the plays in g depth and worked hard to sober up and keep physically fit during the run of the plays. He would never again be so great as he was in these 1920s productions of Shakespeare. Once he had created his concept of a role Barrymore disdained the hard work of performing the same play night after night. His was quickly bored and eager to move on to a new challenge.
Michael Morrison examines in depth each of the scenes in the Barrymore plays. To some this will be tedious but as a lover of Shakespeare I found it to be fascinating.
This book cleared up many misconceptions I had about John Barrymore. While clearly a flawed human being he was also a brilliant actor who held his own with the heavyweight actors of his profession. This excellent book deals with the craft of acting and would be a wonderful resource to use in a college classroom devoted to Shakespearean acting.
Doath
fine
Just_paw
Michael Morrison's book fills a much needed gap in the large Barrymore biographical canon: it tells the story of Barrymore the artist. Many of the other great biographies of the man and family (Margot Peter's THE HOUSE OF BARRYMORE, anything by James Kotsilibas-Davis, to name only two of many excellent others) understandably short-shrift the details found here, in favor of the fabulous "bon mots" and the large tragic arc of his life. Morrison, if it's possible to believe, makes that tragedy all the more heartbreaking by detailing the hard work that Barrymore put himself through to transform himself from a light comedian into the greatest tragic actor of his generation - and arguably the last great tragic actor of the American theatre.
The detailed recreations of Barrymore's acting in RICHARD III and HAMLET are facinating. They provide all of us who have come after some small picture of what it must have been like to actually see him on stage. It helps, I suppose, to be familiar with his film work, to have heard at least some of his Shakespearean recordings, in order to fully visualize Barrymore's "flashing, rapier" genius at work - but it's probably not necessary. A must for all Barrymore fans, actors, and theatre lovers, this book is a treasure. But beware, its story could break your heart.
lifestyle
This is one of the best books ever written on the performing arts. By focusing in on Barrymore's Shakespearean acting only, Morrison manages to show how a second-rate light comedian turned himself into a great artist by sheer hard work -- and then, horrifyingly, how an artist transformed himself into a clown through laziness and dissipation. Through the use of the actor's playbooks and impressive research, Morrison does the impossible and brings Barrymore's stage performances as Richard III and Hamlet so vividly alive you'll swear you're in the theater watching them (I was holding my breath at the end of "Hamlet"). Along the way there are vivid portraits of the idealistic, progressive theater in the 1920's and, a decade later, the ancestry of today's poisonous and envious celebrity culture. Once you read this book you'll never look at Barrymore the same way again.
zmejka
Michael Morrison has provided us with a stirring portrait of one of America's greatest actors, John Barrymore. His book is a vivid account of Barrymore's innovative approach to Shakespearean acting and subsequent rise to fame. This book is required reading for Shakespearean scholars and Barrymore enthusiasts alike.
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