...Edward D. Sullivan THE ACTORS’ ALCESTE: EVOLUTION OF THE MISANTHROPE By EDWARDD. SULLIVAN The enigmatic nature of Alceste in Le Misanthrope of MoliPre has been the subject of endless discussions, and rare indeed is the literary...

..., Washington CHITTICK 7he Masks of Othello: ’Ihe Search for the Identity of Othello, Iago, ad Desdemona by ‘Ihree Centuries of Actors and Critics. By MARVIN ROSEN- BERG. Berkeley and Los Angeles: University of California Press, 1961. Pp. xii -I- 313...

... of the Renaissance will find the book a desirable addition to their libraries. ERNESTA. STRATHMANN Pomona College The Wars of Cyrus. An Early Classical Narrative Drama of the Child Actors. Critical Edition with Introduction and Notes by JAMES PAULBRAWNER...

..., doubling can mean either standing in for another actor (as in the case of a stunt double) or taking more than one part in the same performance: the first conjoins (two actors on one mask); the second bifurcates (two masks on one actor). Both kinds of doubling figure in the production history...

..., scholars focus on acts 2 through 4, where the play in question is rehearsed and staged. However, overlooking the frame in acts 1 and 5, where the subject of the interior play is chosen and the problematic consequences of the actor’s conversion are laid out, obscures Rotrou’s true theme, which is neither...

...Kieran M. Murphy Abstract Contemporary actors and, later, historians and critics have long compared the Haitian Revolution to a tragic play. But the model of tragedy they invoke has changed over time. Today the best-known example comes from The Black Jacobins (1963), in which C. L. R. James...

...; the most complex structure is three-dimensional, where the ob- server may see the degree to which the inward person corresponds with his outward postures, as a member of the audience at a theater may distinguish between an actor and his role. Physiopomy. Addison’s proposal that the “Air...

... particular ~tagethat his art was dependent upon the form of his theater, and that therefore the only place where he could be properly understood was in his own theater: Elizabethan players had an advantage over modern actors in that they could more readily appreciate tne...

.... The managers were perplexed until they awoke to the fact that, although their company was adequately supplied with comic actors, there was no great tragedian. Whereupon, many actors from the provincial theaters were tried out, but with no success. At the last extremity, ready to accept almost...

...Edward D. Sullivan Copyright © 1948 by Duke University Press 1948 MOLE’S INTERPRETATION OF MOLIERE’S MISANTHROPE By EDWARDD. SULLIVAN Of the many actors who have played Alceste in MoliPre’s Misa?r- thrope Mole is particularly...

... his article on Mounet-Sully’s performance with these words : The anxious romantic vigil accomplished, surely it was fitting that the beautiful demon come down to us, thus synthesized-his demeanor probably incompre- hensible to future generations. But in state and solemnity, an actor has...

... become a medium of public exchange in the theater, circulating among poet, actors, and audience, and kept “good” by the common involvement of all three in them. This common in- volvement is most effectively brought about in comedy, where the audience is bound into the final mood of social...

... conference in San Francisco. I am grateful to the participants in a seminar there, “The Renaissance Subject as Actor,” for their criticism. Leah Marcus and Katharine Maus have provided many helpful suggestions for the expansion of this essay, and my readers...

... dessous : lucidit6 ; devenir ; Musique. Or notre art devient justement enivrant d?s qu’il est pris par le rythme et qu’il tend vers la musique.1 If a play is written in verse, it is self-evident that the language the actors speak will possess the element of rhythm. The adoption of a metrical...

... reputation in seventeenth-century Eng- land, but it was as actor rather than as playwright. A son of John Field, the Puritan divine whose Godly Exhortation (1583) had railed at the iniquities of the public stage, young Nathan began his career with the Children’s Company at Blackfriars...

... tradition, with its burlesque and amateurish self-expression, and more realistic practices, in which the actor merges with the “pure naturalism of his role.”6 That Jannings falls short of the criteria of naturalism only reflects the general denaturing of conventions brought about...

... simply satiric caricatures. Determined to dictate “The London Merchant” as well as his own “play,” George bullies and threatens the boy actors, but he is also endearingly affectionate with his wife, genuinely proud of his apprentice (and solicitous, since he intervenes to pay the Host...

... and produced at court by the child actors of Windsor Chapel and of the ~~ 1The general line of cleavage was noted by J. P. Collier, in English Dramatic Poetry (1879), 11, 410. 2 The Wars of Cyrus: An Early Classical Narrative Drama of thc Child Actors (Urbana, Ill., 1942). See...

... for the scourging. Both on this stage and around the square the positions of participating actors are indicated in Cysat’s sketches. The French custom of presenting mystkres left rather more to the imagination and made greater demands on credulity. The mansions were set up at the back of the stage...

... by bringing Macbeth into being in a new and murderous form. When the actor is summed up by his act, he inevitably absorbs the generic character of action. He who poisons is a “poisoner,” who lies is a “liar,” and who re- venges is a “revenger.” Inducted into the category of verbal noun...