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| | Pericles, Prince of Tyre |
 | | This has been especially true since Brecht and his "epic theatre," and other modern playwrights and directors, have made it almost conventional to flout dramatic conventions by introducing narrators, mime, peripatetic stories and picaresque heroes, and other "alienating" devices to warn us that this is, after all, theatre and storytelling, not an image of reality. |
| | For Pericles, the players entered from five quite separate locations -- from backstage, from the shadows down at the sides of the actual stage, from that main entrance at the back, around the ladder, and from the back of the balcony. |
| | The most serious was that almost no one in the cast really could make the Elizabethan (if not quite, mostly, Shakespearean) language sing, and only a few could make it comprehensible, a problem probably not helped by the staging, in which the actors didn't have the chance to face the audience, set themselves, and project. |
| www.stthomasu.ca /~hunt/reviews/pericles.htm (929 words) |
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