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| | [EMLS 8.1 (May, 2002]: 1.1-38 Trevor Nunn's Twelfth Night: Contemporary Film and Classic British Theatre |
 | | Nunn's film, on the surface, steers clear of the "cutting-edge": its style is verbal, meditative and restrained - in short, "British." The performances are muted, the text relatively undisturbed, the poetry well spoken and expressive, the cinematography unobtrusive. |
 | | Nunn's Twelfth Night, with its classic theatricality and its use of cinematic invention in the service of the text, is a film that may serve as an impetus for such explorations. |
 | | In fact, as the film makes clear, he's recklessly "unstaid and skittish in all motions." He longs for Feste's music, which he hears in the distance, and "hurtles wildly down the path." Feste is hanging out in a barn, which Nunn calls his "squat," and is "a bit the worse for drink" (Nunn, 74). |
| www.shu.ac.uk /emls/08-1/jonetwel.htm (12970 words) |
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