The Tragedie of Cymbeline, King of Britaine: Applause First Folio Editions (Folio Texts)

Shakespeare, William

ISBN 10: 1557833184 / ISBN 13: 9781557833181

Edité par Applause Theatre & Cinema Books, 2000

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Détails bibliographiques

• Titre: The Tragedie of Cymbeline, King of Britaine: Applause First Folio Editions (Folio Texts)
• Éditeur: Applause Theatre & Cinema Books
• Date de parution: 2000
• Langue: anglais
• ISBN à 10 chiffres: 1557833184
• ISBN à 13 chiffres: 9781557833181
• Reliure: Paperback
• État de l'article: Very Good

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Synopsis

(Applause Books). If there has ever been a groundbreaking edition that likewise returns the reader to the original Shakespeare text, it will be THE APPLAUSE FOLIO TEXTS. If there has ever been an accessible version of the Folio, it is this edition, set for the first time in modern fonts. The Folio is the source of all other editions. The Folio text forces us to re-examine the assumptions and prejudices which have encumbered over four hundred years of scholarship and performance. Notes refer the reader to subsequent editorial interventions, and offer the reader a multiplicity of interpretations. Notes also advise the reader on variations between Folios and Quartos. Prepared and annotated by Neil Freeman, Head, Graduate Directing Program, University of British Columbia.

Biographie de l'auteur

Dramatic work. The whole of Shakespeare’s dramatic work was probably begun and ended within two decades (1591-1611), between his twenty-seventh and forty-seventh year. If the works traditionally assigned to him include some contributions from other pens, he was perhaps responsible, on the other hand, for portions of a few plays that are traditionally claimed for others. When the account is balanced, Shakespeare must be credited with the production, during these twenty years, of a yearly average of two plays, nearly all of which belong to the supreme rank of literature. Three volumes of poems must be added to the total. Ben Jonson was often told by the players that ‘whatsoever he penned he never blotted out (i.e. erased) a line.’ The editors of the First Folio attested that ‘what he thought he uttered with that easinesse that we have scarce received from him a blot in his papers.’ Signs of hasty workmanship are not lacking, but they are few when it is considered how rapidly his numerous compositions came from his pen, and they are in the aggregate unimportant. His borrowed plots. By borrowing his plots he to some extent economised his energy, but he transformed most of them, and it was not probably with the object of conserving his strength that he systematically levied loans on popular current literature like Holinshed’s ‘Chronicles,’ North’s translation of ‘Plutarch,’ widely read romances, and successful plays. In this regard he betrayed something of the practical temperament which is traceable in the conduct of the affairs of his later life. It was doubtless with the calculated aim of ministering to the public taste that he unceasingly adapted, as his genius dictated, themes which had already, in the hands of inferior writers or dramatists, proved capable of arresting public attention. The revision of plays. The professional playwrights sold their plays outright to one or other of the acting companies, and they retained no legal interest in them after the manuscript had passed into the hands of the theatrical manager. It was not unusual for the manager to invite extensive revision of a play at the hands of others than its author before it was produced on the stage, and again whenever it was revived. Shakespeare gained his earliest experience as a dramatist by revising or rewriting behind the scenes plays that had become the property of his manager.