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 xx
... play provides a verbal parallel to the visual and audio pyrotechnics of the opening.3 We recognize Prospero's need to come ... play's episodes mirror the alchemical process” (63–64).” 6. One of Shakespeare's earliest plays, The Comedy of ...
... play provides a verbal parallel to the visual and audio pyrotechnics of the opening.3 We recognize Prospero's need to come ... play's episodes mirror the alchemical process” (63–64).” 6. One of Shakespeare's earliest plays, The Comedy of ...
Seite xxiii
... play's large spectacles, its 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 ...
... play's large spectacles, its 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 ...
Seite xxiv
... play's series of spectacles, beginning with a large-scale storm scene, has prompted elaborate, even operatic, versions of The Tempest, though mainly at the expense of the original. When the English theaters reopened after the ...
... play's series of spectacles, beginning with a large-scale storm scene, has prompted elaborate, even operatic, versions of The Tempest, though mainly at the expense of the original. When the English theaters reopened after the ...
Seite xxv
... play's scope and Thomas Shadwell, with a little tinkering, increased its “operatic” effect even more by adding, for example, the Neptune-Amphirite masque. To make room for these dramatically irrelevant and so-called “operatic” additions ...
... play's scope and Thomas Shadwell, with a little tinkering, increased its “operatic” effect even more by adding, for example, the Neptune-Amphirite masque. To make room for these dramatically irrelevant and so-called “operatic” additions ...
Seite xxvi
... play. While the play's island is located in the Mediterranean Sea, it is commonly accepted that the opening scene's ship, foundering in a storm, resembles a contemporary account of a shipwreck off the coast of Virginia. Along with only ...
... play. While the play's island is located in the Mediterranean Sea, it is commonly accepted that the opening scene's ship, foundering in a storm, resembles a contemporary account of a shipwreck off the coast of Virginia. Along with only ...
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