By Gary Waller
Described as one in all ShakespeareвЂ™s such a lot fascinating performs, AllвЂ™s good That Ends Well has just recently all started to obtain the serious consciousness it merits. famous as an important aspect of improvement in ShakespeareвЂ™s occupation, this choice of new essays displays the turning out to be curiosity within the play and provides a wide variety of methods to it, together with historic, feminist, performative and psychoanalytical criticisms.
In addition to 14 essays written by way of major students, the editorвЂ™s advent presents a considerable review of the playвЂ™s severe historical past, with a robust specialise in functionality research and the impression that this has had on its reception and acceptance. Demonstrating quite a few methods to the play and furthering contemporary debates, this publication makes a priceless contribution to Shakespeare criticism.
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Additional info for All's Well, That Ends Well: New Critical Essays
Recent productions have tended to be neutral on the nature of the disease; those few that have occasionally interpreted the fistula as anal have, almost inevitably, turned it to farce. 2), emitting howls of pain—which immediately became humorous when, by emphasis and gesture, the location of the pain became clear. Most productions, however, have not located his illness so specifically, preferring a more general impression of infirmity, frequently represented by the King’s simply being in a wheelchair or unsteady on his feet.
Friedman accuses “modern productions” of deploying “elements of stagecraft . . 41 Like Helena, he can be read as an outsider who struggles to assert himself in the face of “blood” and privilege. 3), Culver City Public Theatre, California 2004. Greg Brevoort (director), Kyle Nudo (Parolles). him fed and employed. A somewhat distasteful variation of this reading was seen in Bertram’s explicitly handing Parolles off to Lafew at the end of the play, as occurred in the Hudson Valley production (2003).
He was also often seen as the height of the play’s theatrical achievement. He is the Miles Gloriosus—pretentious but likeable. In the light of the discussion of masculinism offered by recent work in psychoanalysis and feminism, however, Parolles has come to represent a “fiction of masculine grandeur that Bertram attempts to actualize . . ”38 Dessen sees Parolles’ fate at the play’s end as paralleling Bertram’s and therefore part of the careful plotting of the play. If we look at what Shakespeare did with his sources, he argues, we can see his intentions.