Bentley, Eric
June 1952
New Republic;6/2/52, Vol. 126 Issue 22, p18
This article focuses on the creation of an American Shakespeare tradition. This cannot be achieved from outside"by importing actors or, to take up another current heresy, by switching to arena theatre. Shakespeare did not write for the arena theatre and neither have other major dramatists. The human face has only three sides, not four, and it is sounder to exploit this fact than to flout it. The idea of reviving the Elizabethan stage"brilliantly re-stated recently in Ronald Watkins' book "On Producing Shakespeare," has to be taken more seriously.


Related Articles

  • On Being a Shakespearian Dramatist: An Approach to The Back of Beyond. Rabey, David Ian // Wye Plays;2004, p3 

    This article discusses the influence of dramatist William Shakespeare on the author's play "The Back of Beyond" and "The Battle of the Crows." For the author, the application of the term Shakespearean dramatist means that it as an identification of a dramatist who attempts a deliberately...

  • THE PEOPLE VS. THE BARD. O'Neill, George // America;3/18/1944, Vol. 70 Issue 24, p661 

    The article discusses other writers' criticisms on William Shakespeare and his plays. It includes an in-depth analysis of the hostile criticism of Shakespeare's presentation of life and his boundless, cloudless and human views, as well as a discussion on the issues' implications for theater and...

  • UNE ESTHÉTIQUE EN CREUX SHAKESPEARE, LE MONDE EST UNE SCÈNE. Banu, Georges // Studia Universitatis Babes-Bolyai, Dramatica;2009, Vol. 54 Issue 1, p65 

    The entire Shakespearian work is filled with references to the world of theatre in the same way that the banks of a river are filled with hidden water. It is interesting that Shakespeare's discourse is not constituted as a doctrine, but it is still very concrete, very close to the art of making...

  • THE MODERN SHAKESPEARE. Bentley, Eric // New Republic;5/5/52, Vol. 126 Issue 18, p22 

    This article presents a discussion on the meaning of the "modern" Shakespeare movement. To create performances one must believe not only in dramatist and poet William Shakespeare but in the performing arts as well. Performance has to be accepted as a positive factor. "Modern" Shakespearians do...

  • JOURNEYS OF CULTURAL TRANSFERENCE: CALIXTO BIEITO'S MULTILINGUAL SHAKESPEARES. Delgado, Maria M. // Modern Language Review;Jan2006, Vol. 101 Issue 1, p106 

    The article seeks to provide an introductory overview of stage director Calixto Bieito's work on playwright William Shakespeare. Bieito's venture acts as a way of articulating a directorial aesthetic that consistently asks radical questions about how texts are rewritten and not simply...

  • SHAKESPEARE: THE MAN AND THE MESSAGE. Morton, Richard K. // Education;Feb1934, Vol. 54 Issue 6, p368 

    This article interprets contributions of William Shakespeare, English poet and dramatist, to the society as a whole. Shakespeare has lot to offer to all men. He chose the language of eternity to deliver his message to all the ages. He lived a very short life, yet he found enough of the eternal...

  • The Editor, The Artist, and the Early Texts of Shakespeare: Moving Forward By Looking Back. Cass, Jenna May // Journal of the Wooden O Symposium;2011, Vol. 11, p16 

    The article focuses on the relationship between textual editors and theatre artists in the early works of writer William Shakespeare. It claims that these artists are also editors and adds that early texts require the most creativity and critical thinking from both editors and artists. It also...

  • The Kindest Cut of All: Editing Shakespeare's Scripts for Performance. Flachmann, Michael // Journal of the Wooden O Symposium;2011, Vol. 11, p41 

    The article discusses the process of editing the plays by William Shakespeare for production. It cites the importance of abiding by time restrictions, which is between two and a half to three hours of running time, as this is a comfortable duration for the audience members to remain in their...

  • Hell Is Discovered. O'CONNELL, JAMES J. MAINARD // Renaissance Papers;2008, p65 

    The article discusses the use of trapdoors on playhouse platforms in the English Renaissance period. It focuses on the Rose, the first Globe and the Blackfriars, theatres which produced plays by William Shakespeare. Each trapdoor is said to be unique in size, and the way they are built and used....


Read the Article


Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics