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Titus Andronicus [Anglais] [Broché]

William Shakespeare , Jonathan Bate
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Détails sur le produit

  • Broché: 328 pages
  • Editeur : Arden Shakespeare; Édition : 3 (16 mars 1995)
  • Collection : The Arden Shakespeare Third Series
  • Langue : Anglais
  • ISBN-10: 1903436052
  • ISBN-13: 978-1903436059
  • Dimensions du produit: 19,7 x 12,5 x 1,9 cm
  • Moyenne des commentaires client : 4.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 14.510 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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Première phrase
When the notices of Titus Andronicus came out, giving us full marks for saving your dreadful play, I could not help feeling a twinge of guilt. Lire la première page
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Copyright | Extrait | Index | Quatrième de couverture
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1 internautes sur 3 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 La pièce la plus gore de Shakespeare 19 février 2003
Cette tragédie des débuts de Shakespeare a souvent été critiquée pour son excès de sang, de violence, de corps mutilés...mais lorsqu'on se penche sur l'histoire sanguinolente de Titus et de sa famille, on ne peut s'empêcher de se laisser emporter dans cette sordide histoire de vengeance, avec ses clichés, son obsession pour le corps humain, ses actes voyeurs, témoins d'une époque très "inquiète" par tout ce qui touchait à la chair...bien plus qu'une pièce gore, Titus Andronicus, c'est le reflet de la mentalité élizabéthaine, avec toute sa richesse et ses nombreuses découvertes.
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5 internautes sur 5 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Manly tears and excessive violence: the first John Woo film? 18 décembre 2000
Par darragh o'donoghue - Publié sur
On a superficial first reading, 'Titus Andronicus' is lesser Shakespeare - the language is generally simple and direct, with few convoluted similes and a lot of cliches. The plot, as with many contemporary plays, is so gruesome and bloody as to be comic - the hero, a Roman general, before the play has started has lost a wife and 21 sons; he kills another at their funeral, having dismembered and burnt the heroine's son as a 'sacrifice'; after her husband is murdered, his daughter is doubly raped and has her tongue and hands lopped off; Titus sacrifices his own hand to bail out two wrongfully accused sons - it is returned along with their heads. Et cetera. The play concludes with a grisly finale Peter Greenaway might have been proud of. The plot is basically a rehash of Kyd, Marlowe, Seneca and Ovid, although there are some striking stage effects.
Jonathan Bate in his exhaustive introduction almost convinces you of the play's greatness, as he discusses it theoretically, its sexual metaphors, obsessive misogyny, analysis of signs and reading etc. His introduction is exemplary and systematic - interpretation of content and staging; history of performance; origin and soures; textual history. Sometimes, as is often the case with Arden, the annotation is frustratingly pedantic, as you get caught in a web of previous editors' fetishistic analysing of punctuation and grammar. Mostly, though, it facilitates a smooth, enjoyable read.
2 internautes sur 2 ont trouvé ce commentaire utile 
Par C. Scanlon - Publié sur
Format:Broché|Achat vérifié
Titus is the play for our day of crumbling and self-destructing empire; this fable has much to teach us now. As the Reverend Doctor Martin Luther King, Jr. warned us: Either we learn to live together as brothers or we die apart as fools.

Here we find fool brother killing brother, citizen killing citizen, the extreme abuse of the most vulnerable and pure, the excessive cruelty of wealth and power, a fable for our age.

Here in the Third revision series from Arden (the first presentation nearly one hundred years old and thus this represents one of the most ancient, traditional and continual series of Shakespearean texts, unlike certain far more recent and much less reliable usurpers of the "traditional" crown) we may discover a nearly impeccable edition of this four hundred year old much maligned and frequently orphaned text, a fable for our present times.

The editor Jonathan Bate presents strong and nearly undeniable reasons for his selection of readings from Quarto, Folio and emended editions, including of course Theobald and Capell but also the most recent scholarship and productions. His use, for example of "Muly lives" rather than "Mulietus" is admirable, as is his conflation of false starts, later additions, and other lines always clearly indicated in other typeface and explained fully in the footnotes and introduction.

Nevertheless, I found some of his interpretation unfortunate. I believe this play not a comedy but an exposure of the absolute corruption to which power and wealth lead us. It is not comedy but an exposure of our depravity. It is not to laugh but to weep, and to repent, and to resolve to live in peace and communal cooperation and compassionate concern, to learn to live together as brothers, although not as these. It is thus a morality play, not a comedy; yet we now have no concept of such a thing, and thus laugh where we must repent, and revolt.

His continual praising and uncritical reference in the footnotes to the televised BBC and to the Warner productions also calls into question his judgment. I cannot imagine, for example, admiring bringing in the cannibal banquet table singing as did the Warner = "Heigh ho it's off to work we go!" as anything other than an inappropriate, anachronistic indulgence.

In short about half of the footnotes might easily and gratefully find blue pencil from a compassionate and wise editor of this edition who can distinguish personal interpretation and opinion from scholarly fact. As well, a basic rule for those who wish to define or explain words is never to make the definition more complex nor obscure than the word being defined, nor make the definition so general as to be useless. Thus we find the terms suffrages and tyrannies in Act Four defined completely as "key terms in the political lexicon" rather than explaining their significance in terms of Act One. This is neither helpful nor necessary.

In short, about half of the footnotes may be eliminated to the benefit of this great book, as they cast doubt upon the reliability of the edition itself, and this edition seems nearly impeccable.
1 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 An underrated play 5 octobre 2010
Par Kavita Mudan - Publié sur
Format:Broché|Achat vérifié
I purchased this particular edition of Titus Andronicus because I was teaching it (undergraduate-level Shakespeare elective), and as I reread it, I was struck by how entertaining it was. This is a fantastic text for the beginning of a Shakespeare class -- it's short, it's outrageous, it's shocking, and, above all else, it's GREAT writing. This is classic revenge tragedy, full of awfulness and bleak realizations about humanity (or the lack thereof in many cases), but also with some incredibly effective black comedy that doesn't get nearly as much attention as it deserves. My students LOVED it.

This particular edition has very good notes on textual issues as well as some early performance history (even if it was published too early to include Julie Taymor's wonderful 1999 film). The excerpts at the end from The Spanish Tragedy, The Jew of Malta, and Golding's translation of Ovid's Metamorphoses were also extremely handy for contextual questions.
5.0 étoiles sur 5 The New British Literature 22 octobre 2013
Par Kevin L. Nenstiel - Publié sur
Despite William Shakespeare’s unquestioned acclaim in literary, theatrical, and psychological circles, critics have always puzzled over what to do with Titus Andronicus. It lacks the aplomb of Shakespeare’s later tragedies, revels in gore, and ends in such abrupt, excessive violence that many audiences are moved to laughter. Samuel Johnson and TS Eliot hated this play. Contemporary critics like Harold Bloom haven’t treated it much better.

Yet, reading it unencumbered by the baggage accruing to Shakespeare’s name, it actually brims with implications about a young playwright’s course through Elizabethan London’s highly competitive theatre marketplace. The traits critics so eagerly attack—swinging masculine bravado, blatant racism, wholly predictable revenge plot—would have attracted massive London audiences. When Bloom or Eliot calls it an obvious rent-payer, less doctrinaire playgoers reply: “Yes! That’s what makes it great!”

Unlike Shakespeare’s other Roman plays (he wrote four), Titus Andronicus is entirely fictional. When the title character marches victorious into the Roman Senate and launches into his bombastic encomium, he addresses a sort of no-place, populated by the kind of “Romans” often envisioned in high school history textbooks. Rather than a place where people live, it’s a mental landscape where high-minded ideals feud with blood sports, and Christian virtue combats Pagan might.

Into this stew Titus, soul broken by endless battle, brings a captured Goth queen. Sudden stratagems turn this war hostage into a Roman empress. Students of literary history know nothing good comes of mixing power models. Soon the national hero finds himself fleeing the emperor he once defended, and blood flows. Titus becomes partly a tragic hero, like Hamlet or Macbeth, but also the savage, blood-painted revenger rebalancing the scales.

This, probably Shakespeare’s first play, debuted in a London still reeling from Christopher Marlowe’s two-part epic Tamburlaine the Great, which reinvented British theatre. Shedding reliance on moralistic themes and Francophonic singsong rhyme, Marlowe blasted audiences with historical recreations that must have felt as shocking as Cecil B. DeMille’s work. British theatre would never recover from Marlowe’s well-deserved body blow.

Peter Thompson and Northrop Frye suggest Marlowe may have collaborated on Titus Andronicus and others of Shakespeare’s earliest historical plays, though this remains mere speculation. Shakespeare’s earliest works, however, certainly show Marlowe’s influence, and this play certainly reflects Marlowe’s long shadow on British theatre. Young Shakespeare probably had to emulate Marlowe as new playwrights today must emulate Charlie Kaufman or David Mamet.

Yet reading this for its inputs misses the full impact. Many themes that define Shakespeare’s classic tragedies, the themes that helped redefine our understanding of human nature and theatrical potential, appear here in embryonic form. The division of power between the (fictional) emperor Saturnine and his Goth queen Tamora presages King Lear. Aaron the Moor, crafty strategian and captive of a captive, commences ideas that find their mature form in both Othello and Iago.

Imagine if you uncovered Vincent van Gogh’s student paintings, where he developed the early forms of his distinctive gestural technique. Imagine Beethoven’s student notebooks, where he tested the germinal approach that would culminate in throwing off vestigial baroque influence and changing European music. That’s what you have when you read this play. All the ideas and actions that Shakespeare used to transform all following literature appear here, in their most elementary form.

Titus Andronicus wasn’t included in the First Folio, or published under Shakespeare’s name during his lifetime, probably because Shakespeare’s company didn’t own it. As a young apprentice, he apparently sold this play to the Rose, which, after Shakespeare became famous with the Globe, deliberately performed it opposite Globe productions to split his audience. This play wasn’t performed at all between 1596 and 1923, not in Shakespeare’s own words anyway.

Yet since 1955, innovative theatrical productions, and adaptations like Julie Taymor’s Titus have invited scholars and students to re-evaluate this play. Some interpretations have emphasized Shakespeare’s boyishly exuberant violence and self-conscious grandiloquence, pitching it as a black comedy. Others have highlighted the process by which Titus loses everything by stages, presaging modern cinematic tragedies. Like Shakespeare’s best work, Titus Andronicus rewards multiple interpretations.

William Shakespeare came from somewhere. Scant evidence survives from his life, though, and we know remarkably little about the circumstances that created literature’s greatest mind. But we do have Shakespeare’s words. We can see how ideas evolved throughout his career, and how themes begun in one play come to fruition in another. This play essentially contains the seed of everything that came after. After centuries of neglect, it has received part of the recognition it deserves.
5.0 étoiles sur 5 Questions and Answers 4 décembre 2010
Par Timothy S. Chamberlain - Publié sur
Format:Broché|Achat vérifié
He presents a clear reasoned text. Heavy with footnotes. Raises questions about the text as well. Based on the Q1 text (which is the basis of all subsequent texts). Keeps the reader linked to textual questions rather than leaving the reader in the dark as to choices made.
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