King LearEven the most resolutely disengaged students can finally 'discover' and thrill to the rhythms and passions of Shakespeare's plays! Award-winning teachers and Shakespearean scholars have extensively trialled their approach to teaching Shakespeare's plays in the classroom, and this series is the result! The plays in this series are becoming increasingly popular for student resources in schools as English and Drama teachers discover their fabulous teaching and learning qualities. |
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Seite v
46 Bedlam and beggars 114 A performance at the court before the King 125 King Lear as tragedy 183 Shakespeare's themes and techniques Soliloquies and asides 36 Dramatic irony 44 Thinking about appearance and reality 63 A word about ...
46 Bedlam and beggars 114 A performance at the court before the King 125 King Lear as tragedy 183 Shakespeare's themes and techniques Soliloquies and asides 36 Dramatic irony 44 Thinking about appearance and reality 63 A word about ...
Seite 7
As you pass beneath the entrance you read the words Totus mundus agit histrionem: the whole world is a playhouse. Inside, three tiers of gallery seating wrap around the stage. If you pay another penny, you can buy yourself a seat in one ...
As you pass beneath the entrance you read the words Totus mundus agit histrionem: the whole world is a playhouse. Inside, three tiers of gallery seating wrap around the stage. If you pay another penny, you can buy yourself a seat in one ...
Seite 9
Sometimes his words and phrases strike the modern reader as difficult and strange, and some of these words (such as ... He frequently uses a different word order (syntax) from what you might be used to, and his characters often speak in ...
Sometimes his words and phrases strike the modern reader as difficult and strange, and some of these words (such as ... He frequently uses a different word order (syntax) from what you might be used to, and his characters often speak in ...
Seite 11
Can you hear the rhythm in the words? Read the lines aloud once more. Can you hear the regular heartbeat repeating itself in each line? te-DUM, te-DUM, te-DUM, te-DUM, te-DUM ... Shakespeare generally uses ten.
Can you hear the rhythm in the words? Read the lines aloud once more. Can you hear the regular heartbeat repeating itself in each line? te-DUM, te-DUM, te-DUM, te-DUM, te-DUM ... Shakespeare generally uses ten.
Seite 12
They should be emphasised a little more than the weaker beats: GLOUCESTER I HAVE no WAY, and THERE-fore WANT no EYES; (Act 4 Scene 1) Shakespeare uses iambic pentameter (five te-DUMs per line) not only across words ('no EYES', ...
They should be emphasised a little more than the weaker beats: GLOUCESTER I HAVE no WAY, and THERE-fore WANT no EYES; (Act 4 Scene 1) Shakespeare uses iambic pentameter (five te-DUMs per line) not only across words ('no EYES', ...
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Häufige Begriffe und Wortgruppen
Act 1 Scene ALBANY Albany’s audience Bedlam beggars blinding brother Burgundy characters Child Rowland complete the table contrast Copy and complete CORDELIA KING LEAR daughters death dost dramatic irony Duke Duke of Cornwall Earl of Gloucester EDGAR GLOUCESTER EDGAR EDMUND GLOUCESTER emphasise enters Exit eyes father FOOL KENT FOOL KING LEAR Fool’s GENTLEMAN give GLOUCESTER EDGAR GLOUCESTER Gloucester’s castle gods Gonerill and Regan Gonerill’s hast hath heart iambic pentameter iambs imagery Jacobean KENT KING LEAR Kent’s KING LEAR FOOL KING LEAR KENT KING OF FRANCE King’s kingdom knave language LEAR FOOL KING LEAR KENT KING Lear’s letter lines Lord Madam man’s means nature night Nuncle Nunn nutshell OSWALD pathetic fallacy Peter Brook play’s poor Press PLAY Prithee Questions servant Shakespeare Shakespeare’s plays sister soliloquy speak storm Text notes thee There’s thine Trevor Nunn trochee villain words