King LearBloomsbury Publishing, 2018 M08 6 - 104 pages Jonathan Munby's explosive revival of Shakespeare's epic tragedy transferred to the West End following its sold-out run at Chichester Festival Theatre. Performed by a celebrated cast led by Ian McKellen as the embittered monarch in a fractured kingdom. In this version the play has been cut back to its essentials to create a shorter play for a modern audience. Munby has also created a version to suit the intimacy and immediacy of the Minerva Theatre (Chichester), whilst harnessing what he describes as the "catapulting ferocity" of the play. Two ageing fathers - one a King, one his courtier - reject the children who truly love them. Their blindness unleashes a tornado of pitiless ambition and treachery as family and state are plunged into a violent power struggle with shocking ends. Tender, brutal, moving and epic, King Lear is considered by many to be the greatest tragedy ever written. |
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... play in accordance with section 77 of the Copyright, Designs and Patents Act 1988. The editor has asserted his moral rights. All rights whatsoever in this edited version of the play are strictly reserved and application for performance ...
... play in accordance with section 77 of the Copyright, Designs and Patents Act 1988. The editor has asserted his moral rights. All rights whatsoever in this edited version of the play are strictly reserved and application for performance ...
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... play that suited the intimacy and immediacy of that theatre. From the play's opening moments of division, tests of love and banishment to its tragic denouement, I wanted to create a forward momentum and bite, which would harness the ...
... play that suited the intimacy and immediacy of that theatre. From the play's opening moments of division, tests of love and banishment to its tragic denouement, I wanted to create a forward momentum and bite, which would harness the ...
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... play, which allowed the actors greater freedom and flow. The decisions I have made in the production are reflected in the edit. The Kent and Gentleman scenes (Scenes 10 and 19 in this edition), which are often cut, are here included ...
... play, which allowed the actors greater freedom and flow. The decisions I have made in the production are reflected in the edit. The Kent and Gentleman scenes (Scenes 10 and 19 in this edition), which are often cut, are here included ...
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... play and its discourse on blind decision-making, retribution, and folly. More then ever, in these divided times, this play feels like a warning shot and cautionary tale about the catastrophes that may lurk around the corner from a ...
... play and its discourse on blind decision-making, retribution, and folly. More then ever, in these divided times, this play feels like a warning shot and cautionary tale about the catastrophes that may lurk around the corner from a ...
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Contents
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Common terms and phrases
Alack ALBANY ALBANY’S answer arms attended bear bring BRITISH SOLDIER brother Burgundy comes CORDELIA CORNWALL CURAN daughter dead dear death difference Director disguised Dost thou doth draw Duke EDGAR EDMUND Enter Exeunt Exit eyes falls farewell father fear feel fire follow FOOL fortune foul France GENTLEMAN give GLOUCESTER gods gone GONERIL grace half hand hast hath head hear heard heart hither hold I’ll i’the keep KENT kind King knave lady LEAR LEAR’S KNIGHT less letter live Look lord madam man’s Manager master means nature never night noble nuncle o’the OFFICER OSWALD play poor pray Prithee Production REGAN SCENE seek sister speak stand storm tell Theatre thee There’s thine thing thou art thought traitor true villain wind wits