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 viii
... encountering the text in the context of its performance on stage or on film. Ron Pullins, Founding publisher of the New Kittredge Shakespeare viii Acknowledgments James H. Lake, the Series Editor for the New Publisher's Note.
... encountering the text in the context of its performance on stage or on film. Ron Pullins, Founding publisher of the New Kittredge Shakespeare viii Acknowledgments James H. Lake, the Series Editor for the New Publisher's Note.
Seite xi
... stage directions, perhaps Shakespeare's own (see, for example, III.3; IV.1; V.1) [and perhaps so elaborate because this is the first play in the Folio collection]. It was acted at court by the King's Men (Shakespeare's company) sometime ...
... stage directions, perhaps Shakespeare's own (see, for example, III.3; IV.1; V.1) [and perhaps so elaborate because this is the first play in the Folio collection]. It was acted at court by the King's Men (Shakespeare's company) sometime ...
Seite xii
... stage took prompt notice of these matters, as is shown by Eastward Ho! (by George Chapman, Ben Jonson, and John Marston), acted at the Blackfriars in 1605 and published in the same year. In this comedy, Seagull, a ship captain, dwells ...
... stage took prompt notice of these matters, as is shown by Eastward Ho! (by George Chapman, Ben Jonson, and John Marston), acted at the Blackfriars in 1605 and published in the same year. In this comedy, Seagull, a ship captain, dwells ...
Seite xiv
... stage as he saw Macbeth and Cymbeline and The Winter's Tale. Rosalind, in As You Like It (V.2), implies the difference: “I have, since I was three year old, convers'd with a magician, most profound in his art and yet not damnable.”4. 3 ...
... stage as he saw Macbeth and Cymbeline and The Winter's Tale. Rosalind, in As You Like It (V.2), implies the difference: “I have, since I was three year old, convers'd with a magician, most profound in his art and yet not damnable.”4. 3 ...
Seite xvii
... stage. The Romances are melodrama, or tragicomedy, a form new to Shakespeare's art but very popular with contemporary audiences. They draw heavily for their plots on the Greek romances of classical times: the plots frequently offer ...
... stage. The Romances are melodrama, or tragicomedy, a form new to Shakespeare's art but very popular with contemporary audiences. They draw heavily for their plots on the Greek romances of classical times: the plots frequently offer ...
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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