By Dian Henderson
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Additional resources for Alternative Shakespears 3 (New Accents)
The second half of the essay extrapolates some principles of self-reflection, outlining two kinds of media script that thread through current Shakespearean criticism and practice. In this way, the essay takes up Ball’s invitation to begin to reckon our daily experience of media convergence into our lives as scholars. MODERNIST MEDIA SCRIPTS: THEATRICAL/ PRIMITIVE VERSUS CINEMATIC/PROGRESSIVE In the first and second decades of the twentieth century, filmmakers and early critics alike tended to map the idea of modernity as a radical historical break onto specific formal properties of film.
The thirty-five seconds of dead silence which elapse before Isabella decides to make her plea for Angelo’s life were a long prickly moment of doubt which had every heart in the theatre thudding” (Tynan 1950: 151). Later productions would discover significance in Isabella’s lack of verbal response to the Duke’s proposal at the end of the play. Austin’s editors conceded that he “realized that the expression ‘I do’ is not used in the marriage ceremony too late to correct his mistake,” but refrained from amending it “as it is philosophically unimportant that it is a mistake” (Austin 1962: 5).
On the production posters and in the pre-publicity Gambon’s ravaged, haunted face is central, foregrounded, with Bradley’s Bolingbroke and MacFadyen’s Hal behind him; the King meets our gaze over Falstaff’s shoulder, his son inclines his head to look, not as his father, but at the turned back of the not-at-all fat knight. What this reflects in part is a star quality that, in this cast at least, is uniquely Gambon’s own, in that it capitalises upon the pulling power of a face “I DO, I WILL” 11 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 81 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 711 that is familiar even to the most casual of cultural consumers.
Alternative Shakespears 3 (New Accents) by Dian Henderson