Notice bibliographique
- Notice
Type(s) de contenu et mode(s) de consultation : Texte noté : sans médiation
Auteur(s) : Hallett, Charles A. (1935-....)
Hallett, Elaine S. (1935-....)
Titre(s) : The artistic links between William Shakespeare and Sir Thomas More [Texte imprimé] : radically different Richards / Charles A. Hallett and Elaine S. Hallett
Édition : 1st edition
Publication : New York : Palgrave Macmillan, 2011
Description matérielle : x, 293 pages ; 22 cm
Comprend : Preface : Shakespeare's search for the essence of dramatic form ; "More virtually
does Shakespeare's work for him" : dogmas of the "more myth" ; "Thou art a traitor.
Off with his head!" : Applying the Ricardian shock to de casibus narrative ; "For
on that ground I'll make a holy descant--": two con men show how their thespian skills
brought Richard's cause "to a happy issue" ; "Was ever woman in this humor woo'd?/Was
ever woman in this humor won?": Richard's boast of his prowess as lover and playwright
; "The most arch act of piteous massacre/that ever yet this land was guilty of": how
Shakespeare's method of exposing Richard differs from More's ; "To her go I, a jolly
thriving wooer" : the second wooing scene (4.4.199-431) ; "Here pitch our tent, even
here in Bosworth field": meanwhile, back at the tetralogy... ; Later uses of the Ricardian
template : crafting the fifth act of Coriolanus ; Epilogue ; Appendix : Interlocking
episodes of action : Shakespeare's use of More's "rusty armor" scene (3.5.1-109).
Note(s) : Includes bibliographical references p. 275-280 and indexes
"The Halletts' investigation differs from anything that has been written about the
relationship between Thomas More and William Shakespeare in that it approaches the
subject from a dramaturgical point of view. What was Shakespeare the artist looking
for that made him seize upon More's History per se and base Richard III entirely on
the brief four-month period covered in More's book, compressing time rather than telescoping
it? What did Shakespeare find in More that resulted in his amazing new ability to
create dramatic scenes of the sort that one finds in Richard's wooing of the Citizens
at Baynard's Castle, which More himself did not dramatize but harshly denigrated?
What was the imaginative process that enabled Shakespeare to create the scenes in
which Richard woos first Lady Anne and later Queen Elizabeth (neither of which are
in More) on the model of what he learned from writing the Baynard's Castle scene?
How was Shakespeare able to separate out More's negative and disparaging view of Richard's
thespian abilities (which, More assures his readers, everyone instantly saw through)
from the buoyant and positive view that Shakespeare's Richard offers of his own powers
as dramatist, presenter, actor, and would-be king? All of these questions need to
be answered. No book has yet attempted to define in specific terms either what Shakespeare
learned from his study of More's History or how he learned it. This book, we hope,
is unique. Shakespeare's newly discovered dramatic techniques are explicated in the
various chapters with clarity and strength in a way that can benefit future generations
of artists"--
Sujet(s) : Richard III (1452-1485 ; roi d'Angleterre) -- Dans la littérature
Shakespeare, William (1564-1616). Richard III
Thomas More (1478-1535 ; saint). The history of King Richard the Third
Shakespeare, William (1564-1616). Richard III -- Sources
Identifiants, prix et caractéristiques : ISBN 9780230113671 (hardback). - ISBN 0230113672 (hardback)
Identifiant de la notice : ark:/12148/cb42731363j
Notice n° :
FRBNF42731363
(notice reprise d'un réservoir extérieur)
