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Anderson, Barton and Nunn
Andrew James Hartley

. The why of the line – what those of the Method might call motivation – will have to be unearthed or invented by the actor, if necessary, to explain what is apparent to the ear: first comes the form, says Hall, inverting the logic of the Stanislavskian tradition; second comes the feeling. Hall’s convictions shaped the RSC of the 1960s and 1970s, and – since he also directed actors such as Olivier

in Julius Caesar
Caesar under Thatcher
Andrew James Hartley

visceral response. The Britain of the 1960s and 1970s lacked the kinds of dominant political figures to make Caesar feel topical, but the 1980s and 1990s positively brimmed with analogues to the story of a dictator’s demise and its aftermath. The nation in which Ron Daniels’ 1983 production opened at the RST was as divided along lines of class, geography and race as it has ever been in the modern

in Julius Caesar
Boika Sokolova
,
Kirilka Stavreva
, and
J. C. Bulman

portrayals of ‘the noble Jew’ by Erich Ponto and Ernst Deutsch in 1950s–1960s Germany, memorably foregrounding his character’s no-nonsense, working-class attitude. This Shylock refuses to be a victim, and the film never slips into stereotype or melodrama. Shylock’s moral stature and steadfastness are clearly declared in the added narrative – a device which

in Shakespeare in Performance
Abstract only
Author:

Coriolanus resonated for a Jacobean London audience through performance, assuming it actually was performed in the early seventeenth century. This book focuses on the postwar-productions of the Shakespeare's play. It deals with the Laurence Olivier's 1959 version at the Shakespeare Memorial Theatre, the reconfiguration of Bertolt Brecht in the 1960s and early 1970s, and the Royal Shakespeare Company's staging of the play in 1972. Alan Howard won the 1978 London Theatre critics award for Best Actor, starred in successful Coriolanus remounts at Nottingham and London in 1978. The 1984-85 National Theatre's Coriolanus reveals the Shakespeare-plus-relevance ideology under strain from the factious political climate, and Peter Hall's outburst in 1985 was the result of years of stagnant arts funding from Margaret Thatcher's government. The book discusses goulash communism that characterized the mid-1980s Hungary and the staging of Coriolanus in Budapest by Gabor Szekely, and the 1988 theatrically radical presentation at the New York Shakespeare Festival. Coriolan embodies the competing influences that help define Robert Lepage's Shakespeare production, which overlapped the highly charged political events in Canada when Quebec voters turned down a proposal to negotiate sovereignty from the country. The new Globe theatre's Coriolanus in May 2006 was the inaugural production under the theatre's new artistic director, Dominic Dromgoole. This Coriolanus appeared to be designed to fulfil a set of expectations related to a certain image of Globe performance. Ralph Fiennes's film in 2011-12 made Coriolanus a failed action hero in denying him unambiguously heroic status.

A methodological induction
Yves Peyré

branching off around countless interstices and alveoli, in opposition to what Maurice Blanchot had denounced as the totalitarian tendencies of a ‘parole continue, sans intermittence et sans vide’ (‘a speech that is continuous, without intermittence and without blanks’). 3 Turning his gaze far upstream, away from the literature of the 1960s and 1970s, Barthes might have taken

in Interweaving myths in Shakespeare and his contemporaries
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The minor films
Andrew James Hartley

of touch with everyday life. In the same period, the gap between high and low culture had widened significantly, and the students who were being taught Caesar defined themselves increasingly by their own cultural standards and tastes as represented in particular by various forms of pop music. The counter-cultural impulses in matters of art, social awareness and politics which had begun in the 1960s flowered in

in Julius Caesar
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The Problem
Michael D. Friedman
and
Alan Dessen

believed for many generations and was only put to rest by a series of highly successful productions after the Second World War. Titus, in turn, had a landmark production in 1955 – directed by Peter Brook and starring Laurence Olivier – and has subsequently been produced with some regularity (at least compared to the previous 350 years). Similarly, since the 1960s sympathetic critics and editors have greatly enhanced our understanding of the play’s characters, images, and themes. As both academics and theatrical

in Titus Andronicus
Robert Ormsby

London on both its 1956 and 1965 tours. The enthusiastic response to the 1965 Coriolanus is further reflected in the frequency with which Brecht and Coriolanus were brought together on British stages in the 1960s and early 1970s. In 1971, Manfred Wekwerth and Joachim Tenschert, who co-directed the Ensemble’s production, returned to the National Theatre to direct an English-language Brecht

in Coriolanus
The 1984–85 NT Coriolanus
Robert Ormsby

post-war Conservatism, based on the maintenance of traditional institutions’ with ‘a radical discourse grounded on a Neo-liberal belief in individualism, competition and anti-statism’ (Peacock 13), her government did not necessarily revolutionize the British welfare state overnight. Still, the Conservatives did work against what Richard Vinen calls the ‘“progressive consensus”’ of the late 1960s and

in Coriolanus
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Josette Bushell-Mingo’s Cleopatra, Royal Exchange, Manchester, 2005; Tarell Alvin McCraney’s ‘radical edit’, Royal Shakespeare Company, The Public and GableStage, 2013
Carol Chillington Rutter

conducted in Manchester's Royal Exchange, her ancestors imported as slaves to what became British Guyana before her parents immigrated to England in the 1960s in a second wave of the ‘ Windrush generation’) was not the first black British Cleopatra. That distinction goes to Doña Croll, directed by Yvonne Brewster in 1991 for Talawa, the ‘all black’ theatre company Brewster had co-founded five years earlier. 1 After Croll came Cathy Tyson (best known for playing up-market prostitutes on film and television in Mona Lisa

in Antony and Cleopatra