The TempestHackett Publishing, 19.02.2019 - 144 Seiten George Lyman Kittredge's perceptive editions have endured in part because of his eclecticism, his diversity of interests, and his wide-ranging accomplishments—all of which are reflected in the valuable notes in each volume. The plays in the New Kittredge Shakespeare series retain the original Kittredge notes and introductions, changed or augmented only when some modernization seems necessary. These new editions also include introductory essays by contemporary editors, notes on the plays as they have been performed on stage and film, and additional student materials. |
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Seite xii
... original text for court performance, but there is no good reason for supposing that The Tempest is not all Shakespeare's or that it ever existed in an earlier form that differed, except for a touch here and there, from the text as we ...
... original text for court performance, but there is no good reason for supposing that The Tempest is not all Shakespeare's or that it ever existed in an earlier form that differed, except for a touch here and there, from the text as we ...
Seite xiii
... original with Shakespeare in the only sense in which originality in such matters can be predicated of anybody. Setebos is several times mentioned as the “great devil” of the Patagonian giants of southern South America by Antonio ...
... original with Shakespeare in the only sense in which originality in such matters can be predicated of anybody. Setebos is several times mentioned as the “great devil” of the Patagonian giants of southern South America by Antonio ...
Seite xiv
... original, which he would have read in school. The Tempest is remarkable for observing the so-called unity of time. All the action takes place within about three hours (I.2.240; V.1.4, 135–137, 186). The long story that Prospero tells ...
... original, which he would have read in school. The Tempest is remarkable for observing the so-called unity of time. All the action takes place within about three hours (I.2.240; V.1.4, 135–137, 186). The long story that Prospero tells ...
Seite xviii
... original sin, confident that audiences will understand his words about “the imposition clear'd / Hereditary ours” (I.2.73–74 in Riverside ed.), and in the same play Shakespeare uses the word grace over and over again in contexts that ...
... original sin, confident that audiences will understand his words about “the imposition clear'd / Hereditary ours” (I.2.73–74 in Riverside ed.), and in the same play Shakespeare uses the word grace over and over again in contexts that ...
Seite xxiii
... original characters, its memorable lines, all, in large part, account for its popularity. Every theatergoer familiar with the play is likely to wonder how a director will manage its many unique aspects. How will the opening storm scene ...
... original characters, its memorable lines, all, in large part, account for its popularity. Every theatergoer familiar with the play is likely to wonder how a director will manage its many unique aspects. How will the opening storm scene ...
Inhalt
1 | |
How to Read Shakespeares The Tempest as Performance | 89 |
The Tempest Timeline | 97 |
Questions for Discussion and Further Study | 99 |
Bibliography and Filmography | 103 |
Back Cover | 113 |
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Häufige Begriffe und Wortgruppen
action Alon Alonso Antonio Ariel audience bear become begins Bermuda brave bring brother Caliban characters common creatures daughter devil direction dost Duke effect elements Enter Exit eyes father feel Ferdinand figure Folio follow give Gonzalo grace hand hast hath head hear hour human I’ll island Italy John kind King light live look lord magic masque master means Milan mind Miranda monster Naples nature opening original performance person play play’s plot present production Pros Prospero provides reason refers scene Sebastian sense Shakespeare shape ship sleep speak speech spirit stage stand Stephano storm strange suggests Tale tell Tempest thee thine thing thou thought Trin Trinculo true