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- W2002130315 abstract "This paper investigates the trope of war in relation to the critical and performance history of Love’s Labour’s Lost. The “civil war of wits” has long been recognized as central to the play’s linguistic texture, as has the “war against your own affections” that Navarre urges on his fellow academe-lovers. In addition to these linguistic and psychological threads, the play’s disputed debt between France and Navarre concerns the “wars” waged by Navarre’s father, while the four lords’ names point toward historical actors in the French wars of religion from the 1570s into the 1590s. Beyond these well-cited links, however, the play has an unusual history of being performed in actual war-time, or staged in a war-setting, as in Thomas Mann’s Doctor Faustus, the Branagh film, and productions directed by Robin Phillips, Trevor Nunn and Corinne Jaber, among others. Publicity for the current RSC production describes the setting as just before the First World War, “conjuring up the carefree elegance of a pre-war Edwardian summer.” This paper explores why the play has so frequently been associated with war, and particularly the Edwardian period." @default.
- W2002130315 created "2016-06-24" @default.
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- W2002130315 date "2015-03-11" @default.
- W2002130315 modified "2023-10-14" @default.
- W2002130315 title "The Wars of Love’s Labour’s Lost: Performance and Interpretation" @default.
- W2002130315 doi "https://doi.org/10.4000/shakespeare.3079" @default.
- W2002130315 hasPublicationYear "2015" @default.
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