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 xiv
... speech by the witch Medea in Ovid's Metamorphoses (Book VII, lines 197–209) may have helped the playwright fashion Prospero's farewell to his magic at V.1.33–57, although Shakespeare may have used the Latin of Ovid's original, which he ...
... speech by the witch Medea in Ovid's Metamorphoses (Book VII, lines 197–209) may have helped the playwright fashion Prospero's farewell to his magic at V.1.33–57, although Shakespeare may have used the Latin of Ovid's original, which he ...
Seite xvii
... speech renouncing his magic, in which Prospero promises to “drown my book [of magic]” (V.1.33–57), is his creator's farewell to the stage. The Romances are melodrama, or tragicomedy, a form new to Shakespeare's art but very popular with ...
... speech renouncing his magic, in which Prospero promises to “drown my book [of magic]” (V.1.33–57), is his creator's farewell to the stage. The Romances are melodrama, or tragicomedy, a form new to Shakespeare's art but very popular with ...
Seite xxvi
... speeches, especially those directed against Prospero and Miranda, and then Trinculo and Stephano, are made to echo the complaints indigenous peoples have against their occupying oppressors. That the first dramatic allusion to The ...
... speeches, especially those directed against Prospero and Miranda, and then Trinculo and Stephano, are made to echo the complaints indigenous peoples have against their occupying oppressors. That the first dramatic allusion to The ...
Seite xxviii
... speeches (no Caliban's “Be not afeard” speech) in the style of a Commedia dell'Arte traveling troupe. The La MaMa Theater in New York presented three interpretations of The Tempest (2014), all of which focused on the themes of ecology ...
... speeches (no Caliban's “Be not afeard” speech) in the style of a Commedia dell'Arte traveling troupe. The La MaMa Theater in New York presented three interpretations of The Tempest (2014), all of which focused on the themes of ecology ...
Seite xxx
... speech, from which he glimpses what it is to be human. Data echoes Ariel, often depicted as a being untouched by human emotion but appreciative of it. Echoing a commonplace notion that The Tempest is Shakespeare's “swan song,” Data's ...
... speech, from which he glimpses what it is to be human. Data echoes Ariel, often depicted as a being untouched by human emotion but appreciative of it. Echoing a commonplace notion that The Tempest is Shakespeare's “swan song,” Data's ...
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