Le Prince de Hombourg by Heinrich von Kleist
By Heinrich von Kleist
Désobéissant aux ordres de l'Electeur, chef de l'armée, le Prince de Hombourg lance intempestivement sa cavalerie et... gagne l. a. bataille. Passant en cour martiale, il est condamné à mort. Sa fiancée intercède pour le sauver auprès de l'Electeur, son oncle qui, ému par ses larmes, position Hombourg devant un dilemme difficile à trancher : s'il juge que sa condamnation est injuste, il sera acquitté... Kleist (1777-1811) a fait de sa pièce à los angeles fois une ouvre d'imagination, un épanchement masqué de ses angoisses personnelles et une évocation historique s'ouvrant sur une leçon politique. Jean Vilar, qui fut le leading à mettre en scène, en France, cette ouvre mystérieuse, l'a élevée, par los angeles présence éblouissante de Gérard Philipe dans le rôle du Prince, à l. a. hauteur d'un mythe héroïque.
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Strate a tendency to name-drop. In them Siddons claims that when she first went to read for Queen Charlotte, she was praised for conducting Sarah Siddons, ca. ). 84 She encouraged fashionable artists such as Reynolds, Lawrence, Portrait Gallery, London. Romney, and Gainsborough to produce portraits of her in street dress, Figure 24" as well as in character, and by doing so she aligned herself with women THOMAS GAINSBOROUGH of high birth who used the same artists for portraits that slipped in and (British, 1727-1788).
16). Despite great differences in her acting technique, Siddons was frequently associated with this "Neoclassicism" of her brother. These associations were made implicitly, rather than explicitly, and were frequently retrospective. Reynolds's aesthetic theories helped perpetuate such ideas. 61 Reynolds was not only a friend of Siddons but he also gave her advice about costumes and hairstyle. 63 This interchange was promoted by many paintings and engravings that elevated Siddons to an abstraction rather than represent her as a private character or an actress performing a role.
Reynolds's aesthetic theories helped perpetuate such ideas. 61 Reynolds was not only a friend of Siddons but he also gave her advice about costumes and hairstyle. 63 This interchange was promoted by many paintings and engravings that elevated Siddons to an abstraction rather than represent her as a private character or an actress performing a role. Reynolds's portraits of Siddons as the Tragic Muse (see fig. IO, p. 114) was the most effective and influential of these representations. Other portraits, such as Thomas Beach's depiction of Siddons as Melancholy in Milton's "II Penseroso" (see fig.