Looking At Shakespeare  6726

Contents

A Midsummer Night’s Dream 1905 Berlin. Reinhardt’s woodland.
A Midsummer Night’s Dream 1914 London. Ill met by moonlight.
A Midsummer Night’s Dream 1914 London. Titania with her court.
A Midsummer Night’s Dream 1932 Stratford. Bridges-Adams’ lighting, Wilkinson’s dark wood.
A Midsummer Night’s Dream 1970 Stratford. Oberon and Puck on trapezes, in Sally Jacobs’ white box.
A Midsummer Night’s Dream 1970 Stratford. The “wedding” of Bottom and Titania in Brook’s production.
A Midsummer Night’s Dream 1992 London. Lepage’s floating bed.
A Midsummer Night’s Dream 1992 Tokyo. Noda’s Pyramus and Thisbe in a theme park.
A Midsummer Night’s Dream 1994 Tokyo. Oberon and Titania in a Japanese garden.
A Midsummer Night’s Dream 1995 Düsseldorf. Hippolyta as Queen of the Amazons.
All’s Well That Ends Well 1953 Stratford, Ontario. Alec Guinness and Irene Worth in the ballroom scene, designed by Moiseiwitsch.
Antony and Cleopatra 1999 London. The audience and the architecture of the Globe.
As You Like It 1967 London. Ralph Koltai’s “contempo” Forest of Arden, for Clifford Williams’ all-male cast.
As You Like It 1977 Berlin. The court in Peter Stein’s environmental production.
As You Like It 1977 Berlin. The forest of Arden setting by Karl-Ernst Hermann.
As You Like It 1977 Berlin. Touchstone, Celia and Rosalind arrive in Arden in updated dress.
As You Like It 1977 Stratford. Operatic conclusion to an operatic version, designed by John Napier.
Coriolanus 1933 Stratford. Architectural setting at last brought to Stratford.
Coriolanus 1959 Stratford. Boris Aronson’s city of metal jaws, for Peter Hall.
Coriolanus 1964 Berlin. The Berliner Ensemble production of Brecht’s Coriolan.
Coriolanus 1964 Berlin. The other side of Appen’s revolving set.
Coriolanus 1972 Stratford. Coriolanus circled by prisoners, the Roman army and Roman wolf.
Coriolanus 1984 London. Ian McKellen amid costume signifiers of the present and the past.
Coriolanus 1994 Stratford. The French Revolution at the Swan.
Craig’s 1905 sketch for Julius Caesar
Craig’s sketch for Hamlet (2.1)
• by Edward Gordon Craig
Cymbeline 1989 New York. JoAnne Akalaitis’ postmodern production, with a fluid set by George Tsypin.
Hamlet 1909 Berlin. A Craigian contrast of verticals and horizontals for Reinhardt.
Hamlet 1911/12 Moscow. Claudius and Gertrude in golden crowns and capes.
Hamlet 1911/12 Moscow. Final tableau with Craig’s screens.
Hamlet 1911/12 Moscow. The first scene in the Craig-Stanislavsky production.
Hamlet 1925 London. Barry Jackson’s modern dress.
Hamlet 1925 London. Barrymore with a Craigian monument.
Hamlet 1926 Prague. Claudius and Gertrude in front of the phallic needle.
Hamlet 1926 Prague. Hofman’s white screens.
Hamlet 1926 Prague. The closet scene.
Hamlet 1954 Moscow. Okhlopkov’s “Iron Curtain” Hamlet.
Hamlet 1964 Berlin. Hamlet’s mind reflected in Bosch’s visions of hell.
Hamlet 1971 Moscow. Borovsky’s inhuman curtain in Lyubimov’s production.
Hamlet 1975. Chris Dyer’s village hall setting at The Other Place.
Hamlet 1977 Bochum. Peter Zadek’s anarchy of styles.
Hamlet 1979 Cologne. The ending of Hansgünter Heyme’s electronic Hamlet.
Hamlet 1982 Prague. Hamlet’s body is carried up Svoboda’s great steps.
Hamlet 1984 Stratford. Maria Bjornson’s set for the second scene.
Hamlet 1990 Berlin. Heiner Müller’s farewell to the DDR.
Hamlet 1990 Berlin. Perspective, true and false, for the Mousetrap.
Hamlet 1995 Tokyo. Hamlet and the players.
Hamlet 1977 Bochum. Ulrich Wildgruber as an iconoclastic Hamlet.
Hamlet 1978 Washington. Lee’s “sewers” of Elisonore for Liviu Ciulei
Henry IV 1957 Lyon. Planchon’s play about power in Allio’s map setting.
Henry IV 1964 Stratford. Bury’s set model.
Henry VI 1988 world tour. Jack Cade’s rebellion (English Shakespeare Company).
Henry VIII 1949 Stratford. A spectacle in Elizabethan form.
I Henry IV 1984 Paris. Stylized violence in an Asian mode.
Julius Caesar 1874 Berlin. The forum scene as staged by Saxe-Meiningen.
Julius Caesar 1928 Warsaw. Antony enraging the crowd.
Julius Caesar 1928 Warsaw. Expressionist lighting and pantomime movement for the storm.
Julius Caesar 1928 Warsaw. The battle at Philippi as if by Uccello.
Julius Caesar 1936 Prague. Caesar before his image.
Julius Caesar 1936 Prague. Surreal colossus.
Julius Caesar 1936 Prague. Tröster’s design for the murder of Cinna.
Julius Caesar 1937 New York. The “Nuremberg” effect.
Julius Caesar 1937 New York. Welles’ bare brick wall and slanted light.
Julius Caesar 1997 Cesena. An anorexic warrior at the end of the world.
Julius Caesar 1997 Cesena. Antony and horse for Caesar’s funeral.
Julius Caesar 1997 Cesena. Brutus and Cassius among the ruins of civilisation.
King John 1967 New York. High scaffolding before a lake in Central Park.
King Lear 1889 Munich. The storm scene on the Shakespeare stage.
King Lear 1908 Berlin. A violent mixture of patterned cloth by Carl Czeschka.
King Lear 1908 Berlin. The violent costumes.
King Lear 1936. Jessnertreppenat the SMT.
King Lear 1962 Stratford. Wreckage at Goneril’s castle.
King Lear 1972 Milan. Frigerio’s rough boards over the sand pit, in Strehler’s version.
King Lear 1972 Milan. Gloucester and Lear in royal rags and paper crown.
King Lear 1972 Milan. Lear and the Fool in a circus image.
King Lear 1981 Miskolci. A decaying factory setting for a political parable.
King Lear 1997 Tokyo / Hong Kong / Singapore. Asian interculturalism with actors from conflicting theatre traditions.
King Lear 1962 Stratford. Beckettian meeting at Dover.
Love’s Labour’s Lost 1946 Stratford. Brook’s “Watteauesque” version.
Macbeth 1921 New York. The appearance of Banquo in Jones’ design.
Macbeth 1928 London. Paul Shelving’s uniforms of the First World War.
Macbeth 1936 New York. Orson Welles’ voodoo Macbeth.
Macbeth 1976 Stratford. Spectators and action in Trevor Nunn’s chamber production.
Macbeth 1980 Tokyo. Japanese King and Queen of Scotland.
Measure for Measure 1893 London. Poel’s first reconstruction of the Fortune Theatre.
Measure for Measure 1898 Paris. Lugné-Poe’s audience at the Circus d’Eté, surrounding the actors.
Measure for Measure 1956 Stratford, Connecticut. Venetian blind setting at the American Shakespeare Festival.
Measure for Measure 1985 Stratford, Ontario. Erotic characters for Bogdanov’s “Club”.
Much Ado About Nothing 1903. Craig’s design for the church scene.
Much Ado About Nothing 1976 Stratford. John Napier’s unified Elizabethan design.
Othello 1921 Berlin. Pirchan’s billowing bed.
Othello 1976 Hamburg. A bikini for Othello’s arrival in Cyprus, in Peter Zadek’s revisionist version.
Othello 1989 Stratford. The Civil War barracks, chamber style.
Pericles 1969 Stratford. Timothy O’Brien’s ritual nakedness.
Richard III 1920 New York. Jones’ Expressionist applications.
Richard III 1920s Berlin. A photo of Jessnertreppen.
Richard III 1920s Berlin. Kortner’s Svengali fingers.
Richard III 1920s Berlin. Pirchan’s Expressionist setting for Jessner.
Richard III 1920s Berlin. R. E. Jones’ eyewitness sketch.
Richard III 1928 Cambridge. Lighting forces attention on the spears.
Richard III 1928 Cambridge. Terence Gray’s design for the “hollow box system”.
Richard III 1928 Cambridge. The ghosts, with huge projected shadows.
Richard III 1953 Stratford, Ontario. Guthrie’s opening production in the Festival tent.
Richard III 1983 New York. Recessed stages among high scaffolding.
Richard III 1987 Vienna. Richard confronts Richmond before a row of upright spears, designed by Hermann.
Romeo and Juliet 1882 London. Irving’s final scene.
Romeo and Juliet 1921 Moscow. Exter’s Cubist design for Tairov.
Romeo and Juliet 1929 Cambridge. Paston’s medieval mansions, flamenco costumes, flying birds.
Romeo and Juliet 1931 Warsaw. A late example of international Expressionism.
Romeo and Juliet 1935 London. Capulet’s ball.
Romeo and Juliet 1935 London. Motley’s central tower.
Romeo and Juliet 1935 London. Olivier and Ashcroft parting in Gielgud’s production.
Romeo and Juliet 1947 Stratford. Rolf Görard’s sandcastle set.
Romeo and Juliet 1954 Stratford. A characteristic Motley design.
Romeo and Juliet 1963 Prague. Svoboda’s step units and floating gallery.
Romeo and Juliet 1963 Prague. The gallery serving as Renaissance windows.
Romeo and Juliet 1965 Florence. Zeffirelli’s locale pictorialism.
Romeo and Juliet 1986 Stratford. TV crew in the final scene.
Romeo and Juliet 1993 Düsseldorf. A set of white elements, changeable by hand.
Romeo and Juliet 1993 Düsseldorf. The balcony scene on trapezes.
Romeo and Juliet 1963 Prague. The balcony scene.
The Comedy of Errors 1938 Stratford. Komisarjevsky’s eclectic visuals.
The Merchant of Venice 1932 Stratford. Komisarjevsky’s tipsy Lion of St Mark.
The Merchant of Venice 1963 Berlin. Piscator’s photodocumentary approach.
The Merchant of Venice 1963 Berlin. The wealth and sensuality of Belmont.
The Taming of the Shrew 1954 Stratford, Ontario. Petruchio whips it up.
The Taming of the Shrew 1978 Stratford. Chris Dyer’s opening set.
The Taming of the Shrew 1978 Stratford. The set after demolition.
The Tempest 1947 Lodz. Schiller’s interpolated prologue.
The Tempest 1947 Lodz. The cutout drop in front of a bi-level stage.
The Tempest 1951 Stratford. Surreal excess.
The Tempest 1974 Berlin. Ariel on a flying rock.
The Tempest 1974 Berlin. Proletarian Ferdinand tortured by Ariel’s music.
The Tempest 1978 Milan. Baroque stage techniques used ironically.
The Tempest 1978 Milan. Strehler’s opening scene, the ship a projection against billowing cloth.
The Tempest 1978 Milan. Ariel flies above Prospero, designed by Luciano Damiani.
The Tempest 1981 Minneapolis. The wedding masque in Ciulei’s remodeled Guthrie Theatre.
The Tempest 1987 Tokyo. Ninagawa’s masque set in a noh stage.
The Tempest 1987 Tokyo. Ninagawa’s Noh version.
The Tempest 1987 Tokyo. The opening scene in quilted waves.
The Tempest 1989 Vienna. A crocodile in Claus Peymann’s vision of the island.
The Tempest 1990 Paris. Brook’s intercultural scenography.
The Tempest 2000 London. Caliban in front of contemporary groundlings at the new Globe.
The Tempest 1990 Paris. Intercultural wedding masque.
The Winter’s Tale 1856 London. Kean’s trial scene.
The Winter’s Tale 1906 Berlin. Hermione’s trial in Orlik’s setting.
The Winter’s Tale 1912 London. Hermione amid white and gold post-impressionism (Granville Barker)
The Winter’s Tale 1912 London. The statue scene in Wilkinson’s non-illusionist setting.
The Winter’s Tale 1924 Warsaw. A Cubist Bohemia in Schiller’s production.
The Winter’s Tale 1969 Stratford. The nursery in white.
The Winter’s Tale 1978 Hamburg. Zadek’s Flora watches over the sheepshearing on a floor of green slime.
Timon of Athens 1974 Paris. A story-teller’s circle for the first banquet.
Timon of Athens 1974 Paris. Les Bouffes du Nord arranged for Brook’s production.
Titus Andronicus 1955 Stratford. A classic Angus McBean photograph.
Titus Andronicus 1955 Stratford. Anthony Quayle as Aaron at the Thyestian feast.
Titus Andronicus 1955 Stratford. Brook’s stylised horror.
Titus Andronicus 1987 Stratford. Torture at the Swan.
Titus Andronicus c. 1595.
Troilus and Cressida 1964 Lyon. A battle scene using Acquart’s folding screen.
Troilus and Cressida 1968 Stratford. Achilles mocks the Trojans in Barton’s production.
Troilus and Cressida 1968 Stratford. Fog for battle confusion.
Troilus and Cressida 1990 Stratford. Ralph Fiennes in front of a massive statue.
Troilus and Cressida 1998 Basel. Trojans showering in blood.
Twelfth Night 1901 London. Craven’s Country Life setting for Tree.
Twelfth Night 1912 London. Orsino’s geometric court.
Twelfth Night 1914 Paris. The upstage area at Copeau’s Vieux-Colombier.
Twelfth Night 1939 Stratford. Motley’s Victorian parasols for grief.
Twelfth Night 1969 Stratford. A wicker dreamworld.
Richard II 1995 London. A concentrated area for Deborah Warner at the Cottesloe.
Richard II 1973 Stratford. Twentieth-century escalators and medieval hobby horses.
Richard II 1953 Avignon. Vilar’s bare stage values on a huge scale.
The festival tent being raised over the stage, Stratford, Ontario, 1953.
Richard II 1951 Stratford. Moiseiwitsch’s unit set for history plays.
Richard II 1981 Paris. The deposed Kabuki King in a prison of poles.
Richard II 1981 Paris. Mnouchkine’s actors as a pseudo-Japanese court.
Richard II 1972 Stratford. The lists at Coventry with hobby-horses and elevators.
Henry V 1975 Stratford. Alan Howard as the King in a track suit.
Henry V 1969 Stratford, Connecticut. The French army as ice hockey players.
Henry V 1975 Stratford. The canopy lowered for France.
Henry V 1975 Stratford. Farrah’s heraldic canopy.
Henry V 1961 Vienna. Teo Otto’s designs for the English camp.
Henry IV 1957 Lyon. René Allio’s design for Planchon’s histories.
A Midsummer Night’s Dream 1970 Stratford. Oberon puts Titania asleep, in Brook’s production.
• by Sally Jacobs
A Midsummer Night’s Dream 1970 Stratford. The mechanicals in Sally Jacobs’ full set.
• by Sally Jacobs
Henry VI 1963 Stratford. The iron council table of the The Wars of the Roses, in John Bury’s set.
A Midsummer Night’s Dream 1959 Stratford. Lila de Nobili’s Jacobean set, for Peter Hall.
Othello 1921 Berlin. The arrival in Cyprus, in Emil Pirchan’s design.
Richard III 1920 Berlin. Emil Pirchan’s design for the coronation scene, in Jessner’s production.
Twelfth Night 1912 London. Norman Wilkinson’s Futurist garden for Granville Barker, with Lillah McCarthy.
The Winter’s Tale 1906 Berlin. Orlik’s Bohemian exuberance.
The Winter’s Tale 1906 Berlin. Orlik’s palace interior.
The Winter’s Tale 1906 Berlin. Emil Orlik’s design “Before the Palace” for Max Reinhardt
1 Henry VI 1988 Stratford. A scene from Noble’s The Plantagenets, with Crowley’s frontal design.
2 Henry VI 1975 Stratford. Farrah’s golden Hal.
3 Henry VI 1963 Stratford. John’s Bury’s metallic War of the Roses.
Total items: 195

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