By William Tydeman
This can be Michael Keefer's very good 1604 model of Marlowe's textual content. His creation reconstructs the Renaissance ideological options that formed and deformed healthcare professional Faustus, and the textual content is observed by way of collations, textual and explanatory notes, and excerpts from assets. The appendices contain variations from the 1616 textual content and excerpts from The historical past of . . . medical professional John Faustus, Henricus Cornelius Agrippa, and John Calvin.
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Extra resources for Doctor Faustus: Text and Performance
3. The RSC presentation at the Lyceum Theatre, Edinburgh, on 26 August 1974, and at the Aldwych Theatre, London, 5 September 1974; director:John Barton; Faustus: Ian McKellen; Mephostophilis: Emrys Jones; Lucifer: Clement McCallin; designer: Michael Annals. 4. I ames Aubrey; Mephostophilis: Patrick Magee; Beelzebub/Pope: David Rappaport; designer: Kandis Cook. The history of Marlowe's Faustus in the modern theatre begins on 2J uly 1896. On that date William Poel, passionate advocate ofa return to Elizabethan-style auditoria and staging-methods for drama of that period, revived the play in St George's Hall, Langham Place, London, employing a set-up reproducing as far as possible details given in the contract for constructing the Part Two: Performance 47 Fortune playhouse in January 1600.
The word 'sweet' by which Faustus addresses Helen occurs throughout the play as a term of approbation, appropriate to a man whose main 40 5 'HEAVENLY WORDS' in life often seems to be pleasure, and who shrinks from the harsh and the unpalatable. The artistry of the speech is remarkable, but the dramatic context is important too. Helen's role-demon or not- is to lure Faustus away from thoughts of repentance. Hence the imagery associated with her presence should not be admired for its verbal beauty alone, but also for indicating the nature of a theatrical situation.
R146-71 Marlowe is highly inventive too in varying the position of the natural pause or caesura within the line. Since blank verse was still in its relative infancy in Britain, the tendency was to allow the break to fall with monotonous regularity at the middle and end of each individual line. Marlowe's capacity to handle the form so that the pauses occur in a whole range of positions, and his ability to run one line on into the next, are not merely feats of accomplished poetic technique. ' dramatic soliloquy into an intensely powerful expression of personal anguish.
Doctor Faustus: Text and Performance by William Tydeman