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Author:   Adrian Woodhouse
Publisher:   Manchester University Press
Imprint:   Manchester University Press
ISBN:  

9781526127013

ISBN 10:   1526127016
Pages:   240
Publication Date:   25 September 2018
Audience:   General/trade ,  General
Format:   Paperback
Publisher's Status:   Active
Availability:   In stock  
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Table of Contents

Introduction The Plays: All's Well That Ends Well: 1955 (Michael Denison & Joyce Redman); 1959 (Edith Evans & Zoe Caldwell) Antony and Cleopatra: 1945 (Claire Luce); 1953 (Peggy Ashcroft & Michael Redgrave) As You Like It: 1946 (Paul Scofield); 1952 (Margaret Leighton & Laurence Harvey); 1957 (Richard Johnson & Peggy Ashcroft); 1961 (Vanessa Redgrave & lan Bannen) The Comedy of Errors: 1957 (Old Vic, Keith Michell) Coriolanus: 1952 (Anthony Quayle & Mary Ellis); 1959 (Laurence Olivier & Edith Evans) Cymbeline: 1949 (Leon Quartermaine); 1957 (Ashcroft & Johnson) Hamlet: 1948 (Scofield/Rebert Helpman & Claire Bloom); 1956 (Alan Badel); 1958 (Michael Redgrave); 1961 (lan Bannen) Henry IV part l: 1951 (Richard Burton, Quayle & M Redgrave); 1953 (Barbara Jefford) Henry IV part 2: 1951 (Burton & Harry Andrews) Henry V: 1946 (Scofield); 1951 (Burton) Henry VI parts 1, 2, 3: 1957/8 (Old Vic, Paul Denman & Jefford) Henry VIII: 1949 (Quayle & Diana Wynyard); 1950 (Quayle & Gwen Frangcon Davies [&Rosanna Quayle as Mary Tudor for the royal gala]) Julius Caesar: 1950 (John Gielgud); 1957 (Johnson & Alec Clunes) King John: 1948 (Helpman, Bloom & Quayle); 1957 (Robert Harris & Clunes) King Lear: 1950 (Gielgud); 1953 (M Redgrave); 1959 (Charles Laughton); 1962 (Paul Scofield) Love's Labour's Lost: 1946 (Scofield & Valerie Taylor); 1956 (Badel & Geraldine McEwan) Macbeth: 1946 (Harris & Taylor); 1949 (Godfrey Tearle & Wynyard); 1952 (Ralph Richardson & Leighton); 1955 (Olivier & Vivien Leigh) Measure for Measure: 1946 (Harris & Ruth Lodge); 1950 (Gielgud, Wynyard & Badel); 1956 (Emlyn Williams & Diana Churchill) The Merchant of Venice: 1946 (Laurence Payne & Beatrix Lehman); 1949 (Helpman & Wynyard); 1953 (M Redgrave & Ashcroft); 1956 (Williams & Margaret Johnston); 1961 (Denholm Elliot & Dorothy Tutin) The Merry Wives of Windsor: 1955 (Quayle, Angela Baddeley & Redman) A Midsummer Night's Dream: 1949 (Wynyard, Andrews & John Slater); 1954 (Quayle & Jefford); 1959 (Laughton & Mary Ure) Much Ado About Nothing: 1949 (Quayle & Wynyard); 1950 & 1955 (Gielgud & Ashcroft); 1958 (M Redgrave & Googie Withers) Othello: 1949 (Tearle & Wynyard); 1953 (Quayle & Jefford); 1956 (Andrews, Williams & Johnston); 1959 (Paul Robeson & Ure) Pericles: 1947 (Scofield); 1968 (Richard Johnson) Richard II: 1946 (Harris & Lehman); 1951 (M Redgrave & Heather Stannard) Richard Ill: 1953 (Marius Goring & Yvonne Mitchell); 1961 (Christopher Plummer & Evans) Romeo and Juliet: 1947 (Scofield and Lehman); 1954 (Laurence Harvey & Zena Walker); 1958 (Johnson & Tutin); 1961 (Brian Murray &Tutin) The Taming of the Shrew: 1948 (Quayle & Wynyard); 1953 (Goring & Mitchell); 1954 (Keith Michell & Jefford); 1960 (Peter O'Toole & Ashcroft) Tempest: 1951 (M Redgrave, Badel & Burton); 1952 ( Richardson & Leighton); 1957 (Gielgud, Clunes & Johnson) Timon of Athens: 1956 (Old Vic- Ralph Richardson) Titus Andronicus: 1955 (Olivier & Leigh) Troilus and Cresslda: 1948 (Scofield & StannardO;) 1954 ( Harvey & Muriel Pavlov); 1960 (Tutin & Denholm Elliot) Twelfth Night: 1947 (Scofield & Lehman); 1955 (Olivier & Leigh); 1958 (Johnson & Tutin); 1961 (lan Holm & Tutin) The TwoGentlemen of Verona: 1960 (Patrick Wymark & Elliot) The Winter's Tale: 1948 (Esmond Knight, Wynyard & Scofield); 1960 (Eric Porter & Ashcroft) -- .

Reviews

'Photographer Angus McBean produced glorious portraits of vivien Leigh, Audrey Hepburn, Margaret Lockwood, Laurence Olivier, Ralph Richardson and many other iconic actors. Mixing stylised romanticism with surrealism, he created imaginative, playful images where dramatic lighting merged with multiple exposure. Woodhouse's gorgeous book brings together his photographs of every Shakespeare play - 160 productions in all, 90 of them at Stratford's Memorial Theatre. It demonstrates how his training in mask making and fascination with the dismembered iconography of surrealism combined with careful sculpting with light and shade to offer a unique approach to photographic montage. The result is a study of illusion and poise, of changing modes of production and acting style, and of how our readings of the Bard are framed by those who have photographed his work into posterity.' Maria Delgado, University of London, Times Higher Education (May 2019) -- .

Author Information

Adrian Woodhouse is a journalist and author

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