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Mel et sal. Suavité et sévérité de la voix dans Twelfth Night
Published 2013-06-01“…In Twelfth Night, the characters’ voices, now acerbic, now suave, turn language into a real chamber of echoes when the sounds and songs of carnival, charivari, buffoonery and folly are alternately heard besides the sweet musical strains. …”
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How to Undo Things and Selves with Words: Understanding Literature as Praxis in Virginia Woolf’s Essays on Actresses
Published 2024-12-01“…Actresses embodying nineteenth-century acting, Ellen Terry, Sarah Bernhard and Rachel, as well as Woolf’s contemporary Lydia Lopokova, whose performance is reviewed in “Twelfth Night at the Old Vic” (1933), mediate Woolf’s reflection on literature from different perspectives: writing with the body, reading with gestures, creating from anecdotes, and becoming other.…”
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« Tout est dedans ». Remarques sur la matrice shakespearienne à propos d’I, Shakespeare de Tim Crouch
Published 2022-01-01“…Written and performed separately between 2003 and 2012, I, Malvolio; I, Banquo; I, Caliban; I, Peaseblossom; I, Cinna (The Poet) give voice to characters from Twelfth Night, or What you will, Macbeth, The Tempest, A Midsummer Night’s Dream and Julius Caesar. …”
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