Bibliografie tematiche / Tynan, kenneth , 1927-

Letteratura scientifica selezionata sul tema "Tynan, kenneth , 1927-"

Autore: Grafiati
Pubblicato: 26 luglio 2024

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Libri sul tema "Tynan, kenneth , 1927-"

1

Shellard, Dominic. Kenneth Tynan: A life. New Haven: Yale University Press, 2003.

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2

Shellard, Dominic. Kenneth Tynan: A life. New Haven: Yale University Press, 2003.

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3

Tynan, Kathleen. The life of Kenneth Tynan. New York: W. Morrow, 1987.

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4

1941-, Lahr John, a cura di. The diaries of Kenneth Tynan. London: Bloomsbury, 2002.

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5

Tynan, Kenneth. The diaries of Kenneth Tynan. New York: Bloomsbury, 2001.

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6

Tynan, Kenneth. The diaries of Kenneth Tynan. London: Bloomsbury, 2001.

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7

Tynan, Kathleen. Bio of Kenneth Tynan. Random House Trade, 1997.

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8

TYNAN, KENNETH. KENNETH TYNAN LETTERS. MINERVA, 1995.

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9

Shellard, Dominic. Kenneth Tynan: A Life. Yale University Press, 2003.

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Capitoli di libri sul tema "Tynan, kenneth , 1927-"

1

"KENNETH TYNAN in 'Observer,' 1957". In Samuel Beckett, 183–84. Routledge, 2003. http://dx.doi.org/10.4324/9780203197318-43.

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2

Shakespeare, Critics Theatre. "[1944-5], Kenneth Tynan (1927-80) on Laurence Olivier (1907-89) at the New Theatre, London, as Richard III, in his He that Plays the King (1950), pp. 32-6." In Shakespeare in the Theatre, 230–33. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198711773.003.0056.

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Abstract (sommario):
Abstract From a sombre and uninventive production this brooding, withdrawn player leapt into life, using the circumambient gloom1 as his springboard. Olivier s Richard eats into the memory like acid into metal, but the total impression is one of lightness and deftness. The whole thing is taken at a speed baffling when one recalls how perfectly, even finically, it is articulated: it is Oliviers trick to treat each speech as a kind of plastic vocal mass, and not as a series of sentences whose import must be precisely communicated to the audience: the method is impressionist.
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3

Shakespeare, Critics Theatre. "[1947], Kenneth Tynan on Donald Wolfit and Frederick Valk (1895-1956) in Othello at the Savoy Theatre, London, in his He that Plays the King pp. 84-8." In Shakespeare in the Theatre, 239–43. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198711773.003.0058.

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Abstract (sommario):
Abstract To be present, to assist at the spinning out of events which will surely plume up and refurbish the tapestry of Western culture— is not this a pleasant thing? Had it not been fine to have snapped up and savoured the first copy of The Rape of the Loe# as it came, cool and acid and fair, from the press? To have seen and shaken at the face of Swift2 as he penned the last cruel, grimy pages of Gulliver? To have sat by and quivered at the embarrassed wriggles of some poor questioner, swallowed up in the terrific finality of a Johnsonian3 ‘No, sir ? My point, when at last it comes wheeling round to us, is that I have seen a public event of constellated magnitude and radiance.
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4

Shakespeare, Critics Theatre. "[1945-6], Kenneth Tynan on Laurence Olivier and Ralph Richardson (1902-83, knighted 1947), in Henry IV, Part One and Part Two, directed by John Burrell for the Old Vic Company at the New Theatre, London, from his He that Plays the King (i95°)> pp. 48-53-". In Shakespeare in the Theatre, 234–38. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198711773.003.0057.

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Abstract (sommario):
Abstract From a production so unobtrusive that at times it looked positively mousy, three very great pieces of acting emerged. The Old Vic was now at its height: the watershed had been reached, and one of those rare moments in the theatre had arrived when drama paused, took stock of all that it had learnt since Irving, and then produced a monument in celebration. It is surprising, when one considers it, that English acting should have reached up and seized a laurel crown in the middle of a war, and that the plays in which the prize was won should have been plays of battle, tumult, conspiracy and death, as the histories are.
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