The TempestHal Leonard Corporation, 1998 - 86 Seiten This joyous play, the last comedy of Shakespeare's career, sums up his stagecraft with a display of seemingly effortless skill. Prospero, exiled Duke of Milan, living on an enchanted island, has the opportunity to punish and forgive his enemies when he raises a tempest that drives them ashore--as well as to forestall a rebellion, to arrange the meeting of his daughter, Miranda, with an eminently suitable young prince, and, more important, to relinquish his magic powers in recognition of his advancing age. Richly filled with music and magic, romance and comedy, the play's theme of love and reconciliation offers a splendid feast for the senses and the heart. |
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Seite 4
... exits , are those F1 sets alongside the spoken dialogue , usually flush against the right hand side of the column . In perfor- mance terms there seems to be a useful distinction between the two , though this is only a rule of thumb ...
... exits , are those F1 sets alongside the spoken dialogue , usually flush against the right hand side of the column . In perfor- mance terms there seems to be a useful distinction between the two , though this is only a rule of thumb ...
Seite 7
... exit , a verbal acceptance or denial of what the actor's character has suggested ) , the ' present ' has changed , and the character must readjust accordingly . Just as onstage , the actor should be prepared for the character to re ...
... exit , a verbal acceptance or denial of what the actor's character has suggested ) , the ' present ' has changed , and the character must readjust accordingly . Just as onstage , the actor should be prepared for the character to re ...
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... exit on a separate line , perhaps stopping the onstage action altogether , as with the triumphal exit to a ' Gossips feast ' at the end of The Comedy of Errors made by most of the reunited and / or business pacified characters , leaving ...
... exit on a separate line , perhaps stopping the onstage action altogether , as with the triumphal exit to a ' Gossips feast ' at the end of The Comedy of Errors made by most of the reunited and / or business pacified characters , leaving ...
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... exit ( set on a sep- arate line ) F1's verse altered to prose or vice versa , or lines indistinguishable as either F1's word or phrase altered by modern texts ( in a convoluted passage ) who is speaking to whom F1 line structure altered ...
... exit ( set on a sep- arate line ) F1's verse altered to prose or vice versa , or lines indistinguishable as either F1's word or phrase altered by modern texts ( in a convoluted passage ) who is speaking to whom F1 line structure altered ...
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... exit before Prospero reawakens Miranda , p . 15 of this script . Others , while on a separate line , are caught halfway between centred and flush to the right - hand side of the column . This happens with the description of Ferdinand on ...
... exit before Prospero reawakens Miranda , p . 15 of this script . Others , while on a separate line , are caught halfway between centred and flush to the right - hand side of the column . This happens with the description of Ferdinand on ...
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Häufige Begriffe und Wortgruppen
action actors againe allow Alonso altered Anthonio appearance Ariel begins bring brother Caliban changes character choice compositor copy correct created Elizabethan ENTER entry especially example Exit eyes Father Ferdinand Ff set Folio follow footnote give Gonzalo hand hath heare heere indicate Island King letter looke Lord magic major mark Master meaning Millaine Miranda modern texts set Monster Naples needs occasionally offer once original passage pause period play possible prepared present printed problem prose Prospero punctuation Quarto reader reading referred rhetoric scene script Sebastian seen selfe sentence separate Shakespeare short lines single sometimes speaking speech Spirit split lines stage directions Stephano strange structure suggesting syllables tell Tempest Theatre theatrical thee thing thou thought Trinculo usually verse