Charles Edelman - Böcker

For over four hundred years, in every country where Shakespeare's plays have been performed, The Merchant of Venice has aroused controversy and excitement. This edition is the first to offer a comprehensive account of the Merchant in performance. Charles Edelman's introduction challenges many of the myths and preconceptions associated with the play, and shows how historical events and cultural attitudes have shaped actors' interpretations and audience responses. The commentary, printed alongside the text, describes how different actors, directors and designers have approached each character and episode on stage, film and television, from the first performances in the 1590s to the present day. The extraordinary variety of The Merchant of Venice in production will give every reader new and different insights into one of Shakespeare's most powerful but troubling plays.

For over four hundred years, in every country where Shakespeare's plays have been performed, The Merchant of Venice has aroused controversy and excitement. This edition is the first to offer a comprehensive account of the Merchant in performance. Charles Edelman's introduction challenges many of the myths and preconceptions associated with the play, and shows how historical events and cultural attitudes have shaped actors' interpretations and audience responses. The commentary, printed alongside the text, describes how different actors, directors and designers have approached each character and episode on stage, film and television, from the first performances in the 1590s to the present day. The extraordinary variety of The Merchant of Venice in production will give every reader new and different insights into one of Shakespeare's most powerful but troubling plays.

Sir Thomas Stukeley, the notorious English courtier, pirate, adventurer and soldier, died at the Battle of Alcazar in Morocco in 1578, while serving in the army of King Sebastian of Portugal. This volume comprises the first modern-spelling, annotated edition of two plays in which he is a major character: George Peele's 'The Battle of Alcazar' (c.1588), and the anonymous 'Famous History of the Life and Death of Captain Thomas Stukeley' (c.1596).In his extensive introduction and commentary, Charles Edelman discusses the plays' authorship, their many textual problems, and what they reveal about Elizabethan performance practices. He also challenges most of the traditional assumptions about them. This edition shows that both works, long held to be unperformable, are instead fascinating and worthwhile representatives of the most exciting age in the history of the theatre.

George Chapman is known today as a translator of Homer and as the author of dark tragedies such as Bussy D'Ambois. An Humorous Day's Mirth, written in 1597, was one of the most popular plays of the Elizabethan era. Not only was Chapman's play the Rose Theatre's greatest box-office success of that year, but it also presented an entirely new type of comedy, one that has profoundly influenced comic writing up to the present day. This play is the English theatre's first 'comedy of humours', in which the attitudes, behaviour, and social pretensions of contemporary men and women are satirised. Charles Edelman's is the first fully annotated, modern spelling edition of this long-neglected play. In his extensive introduction and commentary, Edelman discusses the intellectual, philosophical and theatrical background to Chapman's comedy, and shows that An Humorous Day's Mirth would delight the readers and audiences of today as much as it did those in 1597.

Sir Thomas Stukeley, the notorious English courtier, pirate, adventurer and soldier, died at the Battle of Alcazar in Morocco in 1578, while serving in the army of King Sebastian of Portugal. This volume comprises the first modern-spelling, annotated edition of two plays in which he is a major character: George Peele's 'The Battle of Alcazar' (c.1588), and the anonymous 'Famous History of the Life and Death of Captain Thomas Stukeley' (c.1596).In his extensive introduction and commentary, Charles Edelman discusses the plays' authorship, their many textual problems, and what they reveal about Elizabethan performance practices. He also challenges most of the traditional assumptions about them. This edition shows that both works, long held to be unperformable, are instead fascinating and worthwhile representatives of the most exciting age in the history of the theatre.

Of all the poets Francis Meres names in his famous Palladis Tamia, Wits Treasury (1598), just two rate a mention as being both ‘our best for tragedy’ and ‘the best poets for comedy’: William Shakespeare and George Chapman. All Fools, written in 1599, is the only Elizabethan comedy based directly on the plays of Terence. By taking episodes and characters from two brilliant works, The Self-Tormenter and The Brothers, Chapman creates something that is distinctly Elizabethan while remaining faithful to the spirit of the great Roman master. In this edition, an extensive introduction and commentary show how Chapman combines the literary and theatrical traditions of ancient Rome with everyday life in his own time to fashion a sparkling and innovative comedy that will delight audiences today as much as it did those of 1599.

More than just a book of definitions, the dictionary provides a comprehensive account of Shakespeare's portrayal of military life, tactics, and technology. Warfare is everywhere in Shakespeare, and the military action in many of Shakespeare's plays show that he possessed an extraordinarily detailed knowledge of warfare, both ancient and modern. His use of military expressions, customs, and ideas is discussed, with insights into how the plays comment upon military incidents and personalities of the Elizabethan era, and how warfare was presented on the Elizabethan stage. Entries include 'alarum', 'battery', 'ensign', 'kern', 'martial law', 'sentinel', 'Turk', 'vaward'.

George Chapman is known today as a translator of Homer and as the author of dark tragedies such as Bussy D'Ambois. An Humorous Day's Mirth was one of the most popular plays of the Elizabethan era. Not only was it the Rose Theatre's greatest box-office success of 1597, it also presented an entirely new type of comedy, one that has profoundly influenced comic writing up to the present day.This play is the English theatre's first 'comedy of humours', in which the attitudes, behaviour, and social pretensions of contemporary men and women are satirised. Charles Edelman's is the first fully annotated, modern spelling edition of this long-neglected play. In his extensive introduction and commentary, Edelman discusses the intellectual, philosophical and theatrical background, and shows that the play would delight the readers and audiences of today as much as those in 1597.