Love's Labour's Lost (version 2) - Sách nói Miễn phí
1/6Dramatis Personae
Love's Labour's Lost (version 2)
A Midsummer-Night’s Dream, I, 1.
Linenotes-A Midsummer Night’s Dream
A Midsummer-Night’s Dream, I, 1.
Sc. i. Enter...] Enter Theseus, Hippolita, with others. Qq Ff.
4: wanes] waues Q1.
6: withering out] wintering on Warburton. lithering out Becket conj.
7: night] Q1. nights Q2 Ff.
8: nights] Q1 Ff. daies Q2.
10: New-bent] Rowe. Now bent Qq Ff.
15: [Exit Ph.] Theobald.
19: revelling] revelry Holt White conj.
24, 26: Stand forth, Demetrius...Stand forth, Lysander] Printed in Qq Ff as stage directions. Corrected by Rowe.
27: This man hath bewitch’d] Qq F1. This hath bewitch’d F2 F3 F4.
bewitch’d] witch’d Theobald.
38: harshness] hardness Collier MS.
51: leave] ’leve Warburton. lave Becket conj.
69: if you yield not] not yielding Pope.
76: earthlier happy] earlier happy Pope conj. earthly happier Capell.
81: whose unwished] Qq F1. to whose unwished F2 F3. to whose unwish’d F4.
87: your] you F2.
94: Hermia’s] Hermia Tyrwhitt conj.
98: unto] upon Hanmer.
101: fortunes] fortune’s Rowe.
102: Demetrius’] Pope. Demetrius Qq Ff.
107: Nedar’s] Nestor’s S. Walker conj.
125: nuptial] Qq F1. nuptialls F2 F3 F4.
127: [Exeunt...] Exeunt. Manet L. and M. Qq Ff.
128: Scene ii. Pope.
130: which I could] yet could I Becket conj.
131: my] Qq. mine Ff.
132: Ay me! for aught that I could ever] Eigh me; for ought that I could ever Qq. For ought that ever I could F1. Hermia for ought that ever I could F2 F3 F4. Ay me! for aught that ever I could Dyce.
136: low] Theobald. love Qq Ff.
too...low] to be enthrall’d! too high, too low Becket conj.
138: to young] too young F4.
139: friends] Qq. merit Ff. men Collier MS.
140: eyes] Qq. eie F1. eye F2 F3 F4.
143: momentany] Qq. momentary Ff.
146: spleen] shene Becket conj.
148: do] to F3 F4.
154: due] dewe Q1.
159: remote] Qq. remov’d Ff.
167: observance to a] Qq. observance for a Ff. observance to the Pope.
168–178: Her. My good......with thee] Her. My good Lysander! Lys. I swear...spoke. Her. In that...with thee Warburton.
172: loves] Q1. love Q2 Ff.
180: Scene iii. Pope.
182: your fair] Qq. you fair Ff. you, fair Rowe (ed. 2).
186: so] Qq Ff. so! Theobald.
187: Yours would I] Hanmer. Your words I Qq F1. Your words Ide F2 F3 F4.
191: I’d] Hanmer. ile Q1. Ile Q2 F1 F2. I’le F3 F4.
200: folly, Helena, is no fault] Q1. folly, Helena, is none Q2 Ff. fault, Oh Helena, is none Hanmer. fault, fair Helena, is none Collier MS.
205: as] Q1. like Q2 Ff.
206: do] must Collier MS.
207: unto a] Q1. into Q2 Ff.
213: gates] Qq F1 F2. gate F3 F4.
216: sweet] Theobald. sweld Qq Ff.
219: stranger companies] Theobald. strange companions Qq Ff.
225: dote] Qq. dotes Ff.
229: do] Qq. doth Ff.
237: haste] hast F4.
239: he is so oft] Q1 he is oft Q2. he is often F1. he often is F2 F3 F4.
240: in game themselves] themselves in game F3 F4.
244: this] Q1 Ff. his Q2.
245: So] Lo, Capell.
248: this] Qq. his Ff.
249: a dear expense] dear recompense Collier MS.
Giới thiệu
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.
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