Love's Labour's Lost (version 2) - Kostenloses Hörbuch
1/6Dramatis Personae
Love's Labour's Lost (version 2)
As You Like It, IV, 3.
As You Like It, IV, 3.
Scene iii.] Scene v. Pope.
1–5: How...here] Printed in Ff as five lines, ending clock...Orlando...brain...forth...here.
2: and here much Orlando] Ff. I wonder much Orlando is not here Pope. and how much Orlando comes? Capell. and here’s much Orlando Steevens. and here’s no Orlando Ritson conj. and here mute is Orlando Jackson conj.
5: Enter...] Ff (after line 3).
7: bid] F2 F3 F4. did bid F1.
8: know] F1. knew F2 F3 F4.
11: tenour] Theobald. tenure Ff.
18: do] F1. did F2 F3 F4.
22: Phebe did write it] Phebe did write it, with her own fair hand Mason conj.
23: turn’d into] turned in Capell conj. turn’d so in the Id. conj.
26: on] F1 F4. one F2 F3.
33: women’s] Ff. woman’s Rowe.
54: chid] chide Rowe.
57: this] that Rowe (ed. 2).
68: strains] F1. strings F2 F3 F4.
70: snake] sneak Becket conj.
79: brings] F1. bring F2 F3 F4.
85: and] but Lettsom conj.
86: ripe sister] right forester Lettsom conj.
the] F1 but the F2 F3 F4.
88: owner] owners Capell conj.
92: this] kis Warbuton.
96: handkercher] handkerchief Rowe.
99: an hour] two hours Hanmer.
100: food] cud Staunton.
103: oak] Pope. old oake Ff.
112: which] F1. whose F2 F3 F4.
122: amongst] ’mongst Rowe (ed. 2).
132: Was’t you he rescued] Was’t...rescu’d Ff. Was it...rescu’d Warburton.
140: As how] As, how Reed. After this line Capell supposes two lines to be lost, e.g. How, in that habit; what my state, what his; And whose the service he was now engag’d in.
141: In] F2 F3 F4. I F1.
154: his] F2 F3 F4. this F1.
155: [R. swoons.] om. Ff.
158: There is more in it] F1 F2. There is no more in it F3 F4. There is no more in ’t Pope.
Cousin Ganymede!] Cosen Ganimed. Ff. (cosin F4). Cousin—Ganymed! Johnson.
160: I would] Would Pope.
164: sirrah] sirra Ff. sir Pope. See note (xi).
168: a passion] F1. passion F2 F3 F4.
Über
Temptations and infatuations abound in this sparklingly linguistic early comedy from Shakespeare, where cerebral pursuits and ascetic intentions prove no match for the nobles of Navarre’s royal court when the Princess of France and her attendants arrive on a political mission and find themselves enmeshed in a mission of far more amorous ambitions. An entertaining battle of sexes, wits and classes ensues as the great master of the English language concocts a roundelay of semantic gamesmanship, mixing high lyricism, bawdy wordplay and a fair degree of scholarly satire together with elastic dexterity to poke fun at masculine romantic ideations and female objectification, the ambiguities of communication, as well as the ignorance of the seemingly cultured societal sets. And then, in a stunning tonal turn mere moments before the play’s conclusion that manages to thwart all our expectations, the young Shakespeare grounds this heretofore exuberant work in a startlingly mature realism that is far removed from his most popular comedies, lending Love’s Labour’s Lost both a worldliness and honesty that marks it as a work of astonishing complexity.
And to perform it all? Three men (Craig Franklin, Tomas Peter, and Brad “Hamlet” Filippone) and three women (Sonia, Jenn Broda, and Kelly S. Taylor), determined to give you a performance of Shakespeare's work that you will never forget. You thought you knew your Shakespeare? Well, think again! - Summary by Tomas Peter
Cast list: Craig Franklin: Narrator; Costard; Dumain; Maria & Marcade. Brad “Hamlet” Filippone: Biron; Holofernes & French Lord. Jenn Broda: The Princess of France; Dull & Ver (the Spring). Kelly S. Taylor: Ferdinand, King of Navarre; Katharine; Jaquenetta & Forester. Sonia: Rosaline; Moth; Longaville & Hiems (the Winter). Tomas Peter: Don Adriano de Armado; Boyet & Sir Nathaniel.
Weitere Versionen von Love's Labour's Lost (version 2)
- Love's Labour's Lost — gelesen von mehreren Sprechern · Englisch
Kommentare
Seien Sie der Erste, der kommentiert
Es gibt noch keine Kommentare zu diesem Inhalt. Beginnen Sie die Diskussion!
Mehr entdecken
Mehr von William Shakespeare
