The Shakespearean performances of Sir John Gielgud

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/18631 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/18631 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/18631 archive 4031 disk0/00/00/32/14 2012-02-22 17:08:24 2019-01-23 09:55:47 2012-02-22 17:08:24 thesis show 0 Frost Robert James ftp://ubira.bham.ac.uk/eTheses/3214_Frost/ University of Birmingham The Shakespearean performances of Sir John Gielgud unpub PN2000 40fac_art This thesis is a study of the stage history of six plays and three seasons of Shakespeare at the Old Vic as they are related to one man: Sir John Gielgud. Through the assembly of various sorts of evidence ranging from promptbooks, sound-recordings, reviews, programmes, interviews, correspondence, designer's blue-prints, I have attempted to reconstruct the performances and the productions in order to assess Gielgud's contribution as a Shakespearean actor and director. The plays looked at are Richard II, Hamlet, Much Ado About Nothing, King Lear and The Tempest, the Old Vic seasons those from 1929 to 1931. Each chapter, except for the first on the Old Vic which considers a repertory of productions of different plays performed by the same company, examines a series of separate productions of one play in chronological sequence to highlight developments in Gielgud's technique over the years and his response to the more widespread changes in the tradition of the stage interpretation of Shakespeare. So the selection of roles and productions was governed by the idea of examining trends and to set Gielgud's work in the context of the accumulating tradition of the play's interpretation in performance, not to look at single productions only. The resulting selection focuses on Gielgud, the actor and director, at various points throughout his entire career. The earliest production considered is in 1929, the latest in 1974. The conclusion then attempts to draw Gielgud's involvement with Richard II, Hamlet, Much Ado About Nothing, King Lear and The Tempest together to establish an overall view of their relationship in the light of the principal currents of change in the theatre from the early part of this century to the present day. The appendices at the back list the full range of Gielgud's Shakespeare, including his film appearances, and the dates of openings with complete casts of the productions concentrated on in the text. 1983 1983-10 graduation 256223 eng uobscanned Scanned by Hollingworth & Moss This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public 576 University of Birmingham School of English, Drama and American & Canadian Studies, The Shakespeare Institute d_ph na 1983 graduation