Hostname: page-component-586b7cd67f-g8jcs Total loading time: 0 Render date: 2024-11-30T16:00:36.407Z Has data issue: false hasContentIssue false
  • English
  • Français

Chronicles of the Time: Acting as Applied Criticism in Hamlet

Published online by Cambridge University Press:  23 January 2009

Geoffrey Bent
Get access Rights & Permissions [Opens in a new window]

Extract

It is common to describe the end product of an actor's labour as ‘an interpretation’, but somehow the expression's serious, critical dimension is never fully intended. Only a scholar with his pipe and tweeds would seem to possess the appropriate gravity to render judicious overviews of this kind. When one wants to know what Hamlet is ‘about’, they naturally turn to heavily footnoted exegesis found in periodicals with circulations under a thousand. What could someone prancing before a number greater than this in a single evening, wearing grease paint and tights no less, possibly add to such an exalted investigation?

Type
Articles
Information
Theatre Research International , Volume 16 , Issue 1 , Spring 1991 , pp. 17 - 29
Copyright
Copyright © International Federation for Theatre Research 1991

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

List of works cited

Buell, William Ackerman. The Hamlets of the Theatre. New York: Astor-Honon, 1968.Google Scholar
Burton, Hal. Great Acting. New York: Bonanza Books, 1967.Google Scholar
Cottrell, John. Laurence Olivier. Englewood Cliffs: Prentice-Hall, 1975.Google Scholar
Findlater, Richard. The Player Kings. New York: Stein and Day, 1971.Google Scholar
Gielgud, Sir John. Gielgud: An Actor and His Time. New York: Clarkson Potter, 1979.Google Scholar
Gielgud, Sir John. Stage Directions. New York: Capricorn Books, 1963.Google Scholar
Gilder, Rosamond. John Gielgud's Hamlet. Freeport: Books for Libraries Press, 1937.Google Scholar
Gourlay, Logan. Olivier. New York: Stein and Day, 1974.Google Scholar
Hegel, Georg Wilhelm Friedrich. Hegell on Tragedy. Ed. Anne, & Paolucci, Henry. New York: Harper & Rowe, 1962.Google Scholar
Hirsch, Foster. Laurence Olivier. Boston: Twayne Publishers, 1979.Google Scholar
Jones, Ernest. Hamlet and Oedipus. New York: Doubleday, 1949.Google Scholar
Jorgens, Jack J.Shakespeare on Film. Bloomington: Indiana University Press, 1977.Google Scholar
Junor, Penny, Burton: The Man Behind the Myth. London: Sidgwick & Jackson, 1985.Google Scholar
Life Magazine: 04 24, 1964. “Burton's Stormy Interpretation.”Google Scholar
Mills, John A.Hamlet on Stage: The Great Tradition. Westport: Greenwood Press, 1985.Google Scholar
Morley, Margaret. The Films of Laurence Olivier. Secaucus: Citadel Press, 1978.Google Scholar
Olivier, Lord Laurence. Confessions of an Actor. New York: Simon and Schuster, 1982.Google Scholar
Redfield, William. Letters from an Actor. New York: Viking Press, 1967.Google Scholar
Shakespeare, William. Hamlet. Ed. Jenkins, Harold. London: Methuen, 1982.Google Scholar
Shattuck, Charles H.The Hamlet of Edwin Booth. Urbana: University of Illinois Press, 1969.Google Scholar
Sterne, Richard L.John Gielgud Directs Richard Burton in Hamlet: A Journal of Rehearsals. New York: Random House, 1967.Google Scholar

Other materials cited

Shakespeare, William. Hamlet. Burton & Cast. Columbia, DOS 302, 1964.Google Scholar
Shakespeare, William. Hamlet. Gielgud & Theater Guild on the Air Production. RCA, LM 6007, 1951.Google Scholar
Shakespeare, William. Hamlet. Gielgud & Old Vic Company. RCA, LM 6404, 1955.Google Scholar
Shakespeare, William. Hamlet. Olivier & Cast. Two Cities Film, 1948.Google Scholar