Alan Bennett: Plays 2 by Alan Bennett
By Alan Bennett
This moment quantity of performs by way of Alan Bennett comprises his Kafka performs, one an hilarious comedy, the opposite a profound and looking drama. additionally integrated is An Englishman out of the country and a query of Attribution. The fascination of those performs lies within the means they query our authorized notions of treachery and, in several methods, make a sympathetic case for man Burgess and Anthony Blunt.
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Extra info for Alan Bennett: Plays 2
208-09). (For a discussion of such moments, see Philip C. ) Of course when we think of Shakespeare’s work, we think primarily of his language, both the poetry and the prose. Prose: Although two of his plays (Richard II and King John) have no prose at all, about half the others have at least one quarter of the dialogue in prose, and some have notably more: 1 Henry IV and 2 Henry IV, about half; As You Like It and Twelfth Night, a little more than half; Much Ado About Nothing, more than three quarters; and The Merry Wives of Windsor, a little more than five sixths.
Another indication of his popularity comes from Francis Meres, author of Palladis Tamia: Wit’s Treasury (1598). In this anthology of snippets accompanied by an essay on literature, many playwrights are mentioned, but Shakespeare‘s name occurs more often than any other, and Shakespeare is the only playwright whose plays are listed. From his acting, his play writing, and his share in a playhouse, Shakespeare seems to have made considerable money. He put it to work, making substantial investments in Stratford real estate.
Alvin Keman, in Shakespeare, the King’s Playwright: Theater in the Stuart Court 1603-1613 (1995) points out that “several of [Shakespeare‘s] plays contain brief theatrical performances, set always in a court or some noble house. When Shakespeare portrayed a theater, he did not, except for the choruses in Henry V, imagine a public theater” (p. 195). ) A Note on the Use of Boy Actors in Female Roles Until fairly recently, scholars were content to mention that the convention existed; they sometimes also mentioned that it continued the medieval practice of using males in female roles, and that other theaters, notably in ancient Greece and in China and Japan, also used males in female roles.