Acting Shakespeare
(Applause Books). From the London Sunday Telegraph : Acting Shakespeare is extraordinary. The tone of the voice is unmistakably Sir John's, the atmosphere congenial. We're in the company of our greatest actor, who holds in his hands the last links of a chain of tradition leading to Shakespeare himself ... this book is crucial for anyone who believes that Shakespeare on the stage should be Shakespeare at his greatest ... Gielgud is by turns, wise, witty and wicked, but unfailingly modest.
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From the London Sunday Telegraph: Acting Shakespeare is extraordinary. The tone of the voice is unmistakably Sir John's, the atmosphere congenial. We're in the company of our greatest actor, who holds in his hands the last links of a chain of tradition leading to Shakespeare himself ... this book is crucial for anyone who believes that Shakespeare on the stage should be Shakespeare at his greatest ... Gielgud is by turns, wise, witty and wicked, but unfailingly modest.Publishers WeeklyNow 88, the distinguished British actor here offers random notes on the works of his country's most famous dramatist, whose plays he has been performing for more than 70 years. Gielgud is particularly well known for his interpretations of Richard II, Hamlet, King Lear, Benedick in Much Ado About Nothing, Cassius in Julius Caesar and Prospers in The Tempest (and in the Peter Greenaway film Prospero's Books), all of which he discusses in a light, unpretentious style. His rambling prose tends toward anecdotes and flashes of intriguing insight-- Lear should be witty and sly as well as wicked and mad--rather than sustained discussion of the roles' deeper meanings. Miller, coauthor with Gielgud of An Actor in His Time, provides an introduction tracing the history of Gielgud's Shakespearean productions and appendices reprinting contemporary reviews, cast lists and notes on King Lear by famed director Harley Granville-Barker. This blatant padding doubles the book's length to a still-meager 192 pages but adds little substance. Nevertheless, the book is a pleasant diversion for ardent theater lovers looking for lightweight reading. (Oct.)
ForewordIntroduction11Directing, The Old Vic, Hamlet312Romeo and Juliet, Richard II, King Lear453Macbeth614The Merchant of Venice, Measure for Measure, Twelfth Night, Much Ado About Nothing, A Midsummer Night's Dream675Julius Caesar, Othello, Wolsey in Henry VIII796Scenery, Costumes917Company Ensembles, Shakespeare the Man, 'Effects'1018The Tempest on Stage and Film109Postscript119Appendix I: The Critics123Appendix II: Harley Granville-Barker on King Lear149Appendix III: Shakespeare plays Directed by John Gielgud162Appendix IV: The Casts164Index183
\ Publishers Weekly - Publisher's Weekly\ Now 88, the distinguished British actor here offers random notes on the works of his country's most famous dramatist, whose plays he has been performing for more than 70 years. Gielgud is particularly well known for his interpretations of Richard II, Hamlet, King Lear, Benedick in Much Ado About Nothing, Cassius in Julius Caesar and Prospers in The Tempest (and in the Peter Greenaway film Prospero's Books), all of which he discusses in a light, unpretentious style. His rambling prose tends toward anecdotes and flashes of intriguing insight-- Lear should be witty and sly as well as wicked and mad--rather than sustained discussion of the roles' deeper meanings. Miller, coauthor with Gielgud of An Actor in His Time, provides an introduction tracing the history of Gielgud's Shakespearean productions and appendices reprinting contemporary reviews, cast lists and notes on King Lear by famed director Harley Granville-Barker. This blatant padding doubles the book's length to a still-meager 192 pages but adds little substance. Nevertheless, the book is a pleasant diversion for ardent theater lovers looking for lightweight reading. (Oct.)\ \ \ \ \ Library JournalIn his latest remembrance, a chatty Gielgud ( Backward Glances: Times for Reflection and Distinguished Company , Limelight Eds., 1990) fills in details about his remarkable 70-year career. He chronicles his greatest triumphs and disappointments and provides tidbits about his famous costars and friends. Gielgud intended to become an architect if he didn't succeed in acting, and his interest in design is evident in a fascinating commentary on Shakespearean settings and costumes. He has a natural, conversational way with his text, but the body of this book is only 90 pages. The rest is comprised of a comprehensive introduction--Gielgud's Shakespearean chronology--as well as approximately 60 pages of most interesting appendixes: various criticisms of Gielgud's performances, rehearsal notes from Harley Granville-Barker's production of King Lear , and various cast lists of Gielgud's performances. This book will be a delight for those who have followed Gielgud's career or simply love Shakespeare and tales of the stage. In addition, it will be welcomed by any collection where research may be done of 20th-century Shakespearean performances.--Diane H. Albosta, Episcopal H.S. Lib., Alexandria, Va.\ \
