The play has been intermittently popular, revived in productions in various forms and adaptations by some of the leading theater practitioners in Shakespearean performance history, beginning after a long interval with David Garrick in his adaptation Florizel and Perdita (first performed in 1753 and published in 1756). The Winter’s Tale was revived again in the 19th century, when the fourth “pastoral” act was widely popular. In the second half of the 20th century, The Winter’s Tale in its entirety, and drawn largely from the First Folio text, was often performed, with varying degrees of success
The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems and an extensive introduction. The Winter’s Tale is one of Shakespeare’s most varied, theatrically self-conscious, and emotionally wide-ranging plays. Much of the play’s copiousness inheres in its generic intermingling of tragedy, comedy, romance, pastoral, and the history play. In addition to dates and sources, the introduction attends to iterative patterns, the nature and cause of Leontes’ jealousy, the staging and meaning of the bear episode, and the thematic and structural implications of the figure of Time. Special attention is paid to the ending and its tempered happiness. Performance history is integrated throughout the introduction and commentary. Appendices include the theatrical practice of doubling
First performance: 11 May 1611
Playwright: William Shakespeare
Preceded by: Cymbeline
Followed by: The Tempest
Characters: Leontes, Perdita, Florizel, Polixenes, Mamillius, Mopsa, MORE
Adaptations: The Winter’s Tale, The Winter’s Tale (1967)
Pages: 96
Size: 330 Kb
[besclwpbutton url=”https://drive.google.com/open?id=1G2amxvZr_dAPpDXkY6y_d4y762HPFqKc” newtab=”” besclwpbuttonstyle=”large”]DOWNLOAD PDF[/besclwpbutton]
