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 xi
... productions of the play have been cut in order to focus on the background most useful to today's reader, and all but one of the notes that provide bibliographical references have been dropped. Cuts from the text are indicated by ...
... productions of the play have been cut in order to focus on the background most useful to today's reader, and all but one of the notes that provide bibliographical references have been dropped. Cuts from the text are indicated by ...
Seite xiv
... long paragraph on two Restoration adaptations has been moved to the section of the Focus Introduction that covers the production history of the play. [Eds] 4. The little masque-like scene in which Hymen marries the xiv The Tempest.
... long paragraph on two Restoration adaptations has been moved to the section of the Focus Introduction that covers the production history of the play. [Eds] 4. The little masque-like scene in which Hymen marries the xiv The Tempest.
Seite xxii
... Production: The Tempest (Cambridge: Cambridge University Press, 2000), 49. Caliban may have a human shape, but he is in fact half human (Sycorax), half demon (his father). 11. Compare Prospero's words to Ariel at the beginning of xxii ...
... Production: The Tempest (Cambridge: Cambridge University Press, 2000), 49. Caliban may have a human shape, but he is in fact half human (Sycorax), half demon (his father). 11. Compare Prospero's words to Ariel at the beginning of xxii ...
Seite xxiii
... production history. The 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 ...
... production history. The 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 ...
Seite xxiv
... production. According to surviving records, on November 1, 1611 (“Hallomas nyght”), the King's Men (Shakespeare's ... production of the play for over one hundred years. While subsequent productions, such as David Garrick's 1757 Tempest ...
... production. According to surviving records, on November 1, 1611 (“Hallomas nyght”), the King's Men (Shakespeare's ... production of the play for over one hundred years. While subsequent productions, such as David Garrick's 1757 Tempest ...
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