Lois Potter – författare

What is a ''Shakespearean actor''? Does the term still have any meaning? Drawing on the biographical and autobiographical accounts of actors and directors, as well as on interviews with actors from a wide range of backgrounds, this book looks at these questions in a variety of contexts, historical and contemporary. A survey of the training of the classical actor, with its increasing vocal and physical demands, considers how it, like its subsequent career path, is affected by class and gender. There is discussion of the uneasy balance of power between actors and directors, rehearsal practice, the difficulties faced by women as performers and directors, and attempts at undirected productions. Other chapters consider the roles that actors do and don''t want to play, and why, their relation to the Shakespeare text and editorial practice, the complex relationship between actor and audience, and the popularity of anecdotes about things that go wrong. Throughout, examples are taken, as far as possible, from the author''s own long experience of theatregoing. A final chapter looks at new trends in the theatre that have been accelerated by the long period of closure during the pandemic, particularly attempts at greater inclusivity in both actors and audiences. It concludes that the main reason Shakespeare is performed is that actors want to play the roles he wrote.

What is a ''Shakespearean actor''? Does the term still have any meaning? Drawing on the biographical and autobiographical accounts of actors and directors, as well as on interviews with actors from a wide range of backgrounds, this book looks at these questions in a variety of contexts, historical and contemporary. A survey of the training of the classical actor, with its increasing vocal and physical demands, considers how it, like its subsequent career path, is affected by class and gender. There is discussion of the uneasy balance of power between actors and directors, rehearsal practice, the difficulties faced by women as performers and directors, and attempts at undirected productions. Other chapters consider the roles that actors do and don''t want to play, and why, their relation to the Shakespeare text and editorial practice, the complex relationship between actor and audience, and the popularity of anecdotes about things that go wrong. Throughout, examples are taken, as far as possible, from the author''s own long experience of theatregoing. A final chapter looks at new trends in the theatre that have been accelerated by the long period of closure during the pandemic, particularly attempts at greater inclusivity in both actors and audiences. It concludes that the main reason Shakespeare is performed is that actors want to play the roles he wrote.

What is a 'Shakespearean actor'? Does the term still have any meaning? Drawing on the biographical and autobiographical accounts of actors and directors, as well as on interviews with actors from a wide range of backgrounds, this book looks at these questions in a variety of contexts, historical and contemporary. A survey of the training of the classical actor, with its increasing vocal and physical demands, considers how it, like its subsequent career path, is affected by class and gender. There is discussion of the uneasy balance of power between actors and directors, rehearsal practice, the difficulties faced by women as performers and directors, and attempts at undirected productions. Other chapters consider the roles that actors do and don't want to play, and why, their relation to the Shakespeare text and editorial practice, the complex relationship between actor and audience, and the popularity of anecdotes about things that go wrong. Throughout, examples are taken, as far as possible, from the author's own long experience of theatregoing. A final chapter looks at new trends in the theatre that have been accelerated by the long period of closure during the pandemic, particularly attempts at greater inclusivity in both actors and audiences. It concludes that the main reason Shakespeare is performed is that actors want to play the roles he wrote.

What is a 'Shakespearean actor'? Does the term still have any meaning? Drawing on the biographical and autobiographical accounts of actors and directors, as well as on interviews with actors from a wide range of backgrounds, this book looks at these questions in a variety of contexts, historical and contemporary. A survey of the training of the classical actor, with its increasing vocal and physical demands, considers how it, like its subsequent career path, is affected by class and gender. There is discussion of the uneasy balance of power between actors and directors, rehearsal practice, the difficulties faced by women as performers and directors, and attempts at undirected productions. Other chapters consider the roles that actors do and don't want to play, and why, their relation to the Shakespeare text and editorial practice, the complex relationship between actor and audience, and the popularity of anecdotes about things that go wrong. Throughout, examples are taken, as far as possible, from the author's own long experience of theatregoing. A final chapter looks at new trends in the theatre that have been accelerated by the long period of closure during the pandemic, particularly attempts at greater inclusivity in both actors and audiences. It concludes that the main reason Shakespeare is performed is that actors want to play the roles he wrote.

This work provides a comprehensive account of drama written and performed in English from its roots in the medieval mystery plays to the progress of drama in Britain and America since 1945. The volumes, which are arranged chronologically, critically examine the drama, playwrights, actors and audiences of each period in their social and historical context.Key themes in The Revels History of Drama include:* the changing attitudes of audiences and public taste* the developing roles of actors, managers and directors* the evolution of acting stylesEach volume contains:* a chronological table containing historical, theatrical and other literary events* illustrations from contemporary sources* a substantial bibliography.

This book is a study of the various kinds of royalist writing during the period of the English Civil War and the Interregnum, when printing and publishing were largely controlled by Parliament. Lois Potter examines the effectiveness of this control and the means by which writers evaded it: illicit publication; the use of various kinds of code, such as ciphers, emblems, secret languages, symbolism and allegory; the exploitation of genres such as romance and tragicomedy; the submerging of personal identity through literary quotation and allusion. By looking at a very wide sample of texts ranging from anonymous pamphlets to the works of well-known 'Cavalier poets', the book brings greater precision to the controversial subject of the relation of literature to politics and the relation of both to the psychology of secrecy.

A highly readable and illustrated introduction to the work of Milton, which provides both a biographical account of the poet and his influences, and a critical survey of his poetry.

The Life of William Shakespeare is a fascinating and wide-ranging exploration of Shakespeare's life and works focusing on oftern neglected literary and historical contexts: what Shakespeare read, who he worked with as an author and an actor, and how these various collaborations may have affected his writing. Written by an eminent Shakespearean scholar and experienced theatre reviewerPays particular attention to Shakespeare's theatrical contemporaries and the ways in which they influenced his writingOffers an intriguing account of the life and work of the great poet-dramatist structured around the idea of memoryExplores often neglected literary and historical contexts that illuminate Shakespeare's life and works

Of all Shakespeare's tragedies, Othello, with its issues of racism, jealousy and sexual stereotyping seems most immediate to contemporary audiences. Traces Othello's acting tradition as it has affected the roles of Othello, Desdemona and Iago - demonstrating the emphasis placed on different characters in different countries. Examines various stage and screen versions of the play which reflect or challenge current views about race and gender. In depth study of famous Othello actor Paul Robeson, comparing his career to that of Ira Aldridge. The range of productions examined means that the book will appeal to all students and enthusiasts of the theatre, as well as those in the field of ethnic and cultural approaches to Shakespeare

The Life of William Shakespeare is a fascinating and wide-ranging exploration of Shakespeare''s life and works focusing on oftern neglected literary and historical contexts: what Shakespeare read, who he worked with as an author and an actor, and how these various collaborations may have affected his writing. Written by an eminent Shakespearean scholar and experienced theatre reviewer Pays particular attention to Shakespeare''s theatrical contemporaries and the ways in which they influenced his writing Offers an intriguing account of the life and work of the great poet-dramatist structured around the idea of memory Explores often neglected literary and historical contexts that illuminate Shakespeare''s life and works

The Life of William Shakespeare is a fascinating and wide-ranging exploration of Shakespeare''s life and works focusing on oftern neglected literary and historical contexts: what Shakespeare read, who he worked with as an author and an actor, and how these various collaborations may have affected his writing. Written by an eminent Shakespearean scholar and experienced theatre reviewer Pays particular attention to Shakespeare''s theatrical contemporaries and the ways in which they influenced his writing Offers an intriguing account of the life and work of the great poet-dramatist structured around the idea of memory Explores often neglected literary and historical contexts that illuminate Shakespeare''s life and works

The Life of William Shakespeare is a fascinating and wide-ranging exploration of Shakespeare's life and works focusing on oftern neglected literary and historical contexts: what Shakespeare read, who he worked with as an author and an actor, and how these various collaborations may have affected his writing. Written by an eminent Shakespearean scholar and experienced theatre reviewerPays particular attention to Shakespeare's theatrical contemporaries and the ways in which they influenced his writingOffers an intriguing account of the life and work of the great poet-dramatist structured around the idea of memoryExplores often neglected literary and historical contexts that illuminate Shakespeare's life and works

A highly readable and illustrated introduction to the work of Milton, which provides both a biographical account of the poet and his influences, and a critical survey of his poetry.

A highly readable and illustrated introduction to the work of Milton, which provides both a biographical account of the poet and his influences, and a critical survey of his poetry.

A highly readable and illustrated introduction to the work of Milton, which provides both a biographical account of the poet and his influences, and a critical survey of his poetry.

This tragi-comedy is one of the plays we know Shakespeare worked with a collaborator on -- John Fletcher -- and is based on Chaucer's Knight's Tale. This revised edition includes a new introductory essay bringing the edition up-to-date in terms of both the play's performance and critical history, and in particular with current thinking about the nature of Shakespeare's collaboration with other playwrights. As scholars have begun to discover more about this aspect of his career, interest in the play has grown. This revised edition is ideal for undergraduate study, offering on-page annotations to the play text as well as a lengthy, illustrated introduction.

This tragi-comedy is one of the plays we know Shakespeare worked with a collaborator on -- John Fletcher -- and is based on Chaucer's Knight's Tale. This revised edition includes a new introductory essay bringing the edition up-to-date in terms of both the play's performance and critical history, and in particular with current thinking about the nature of Shakespeare's collaboration with other playwrights. As scholars have begun to discover more about this aspect of his career, interest in the play has grown. This revised edition is ideal for undergraduate study, offering on-page annotations to the play text as well as a lengthy, illustrated introduction.

This tragi-comedy is one of the plays we know Shakespeare worked with a collaborator on -- John Fletcher -- and is based on Chaucer''s Knight''s Tale. This revised edition includes a new introductory essay bringing the edition up-to-date in terms of both the play''s performance and critical history, and in particular with current thinking about the nature of Shakespeare''s collaboration with other playwrights. As scholars have begun to discover more about this aspect of his career, interest in the play has grown. This revised edition is ideal for undergraduate study, offering on-page annotations to the play text as well as a lengthy, illustrated introduction.

This tragi-comedy is one of the plays we know Shakespeare worked with a collaborator on -- John Fletcher -- and is based on Chaucer''s Knight''s Tale. This revised edition includes a new introductory essay bringing the edition up-to-date in terms of both the play''s performance and critical history, and in particular with current thinking about the nature of Shakespeare''s collaboration with other playwrights. As scholars have begun to discover more about this aspect of his career, interest in the play has grown. This revised edition is ideal for undergraduate study, offering on-page annotations to the play text as well as a lengthy, illustrated introduction.