Shakespeare Performed: Essays in Honor of R.A. FoakesUniversity of Delaware Press, 2000 - 315 Seiten Many of the contributors to this collection, including E. A. J. Honigmann, M. M. Mahood, Jonathan Bate, and Stanley Wells (among others), have been centrally involved in examining, promoting, and sometimes questioning the critical dominance of the stable Shakespeare text, particularly as a result of performance. The essays range from the traditional poetical and theater history inquiries through bibliographical examinations and hermeneutical interpretations. |
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Seite 34
... hand doors in the playtexts and the Plots of the period , such " triangulation " ( as Fitzpatrick calls it ) would have provided actors with a default setting for entrances and exits which , unlike the convention proposed by Bernard ...
... hand doors in the playtexts and the Plots of the period , such " triangulation " ( as Fitzpatrick calls it ) would have provided actors with a default setting for entrances and exits which , unlike the convention proposed by Bernard ...
Seite 44
... hand , and a literal , closer , " inner " distance , which was the Athenian market place and the harbor of Piraeus visible on their right hand , the Greek comedies that were dispersed through the Mediterranean by travelling actors and ...
... hand , and a literal , closer , " inner " distance , which was the Athenian market place and the harbor of Piraeus visible on their right hand , the Greek comedies that were dispersed through the Mediterranean by travelling actors and ...
Seite 48
... hand and deception and lies on the other , two thronged scenes inevitably culminate in exposure . The structure of the Play Scene lends itself to the enactment of The Mousetrap on the OD side of the stage , as if at the lower end of the ...
... hand and deception and lies on the other , two thronged scenes inevitably culminate in exposure . The structure of the Play Scene lends itself to the enactment of The Mousetrap on the OD side of the stage , as if at the lower end of the ...
Seite 51
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Seite 53
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Inhalt
17 | |
33 | |
The Lord Chamberlains Mens Tour of 1597 | 56 |
No Quarrel but a slight Contention | 72 |
Julius Caesar and Sejanus | 88 |
Three Detachable Scenes | 108 |
Representing Falsehood | 122 |
The First Performances of Shakespeares Sonnets | 131 |
Aspects of King Lear in Performance | 198 |
Sleeves Gloves and Helens Placket | 216 |
Australian Shakespeare | 240 |
Cutting Women Down to Size in the Olivier and Loncraine Films of Richard III | 260 |
Film Editing | 273 |
Afterword | 299 |
Selected Bibliography | 306 |
Notes on Contributors | 308 |
Writing about Shakespeares Plays in Performance | 151 |
Measure for Measure at the Old Vic in 195758 | 164 |
The Performance of Text in the Royal National Theatres 1997 Production of King Lear | 180 |
Index | 313 |
Häufige Begriffe und Wortgruppen
action actors Andrew Gurr Angelo appear Arden argued audience Australian Ben Jonson Branagh's Cambridge University Press Cassius Chamberlain's character comedy conflated costume Cressida critics director door dramatic Duke Edgar edition editors Edmund effect Elizabethan English entrance entry essay exits Eyre Eyre's father Foakes Folio text Gloucester Hamlet Helen Henry Henry VI interpretation Isabella John Jonathan Bate Jonson Juliet Julius Caesar King Lear language Lear's lines Loncraine film London lord Lord Chamberlain's Men Macbeth Marlborough Measure for Measure modern Olivier Ophelia Oxford Pembroke performance Peter Peter Davison play's Players Poet political production Quarto and Folio Queen R. A. Foakes reading Reg Foakes Richard Richard III role royal scene screenplay seems Sejanus Shake Shakespeare's plays Shakespearian Sonnets speak speare speare's speech stage directions suggests Sydney textual theatre theatrical thou tion Titus tour tragedy Troilus Troilus and Cressida William Shakespeare women words
Beliebte Passagen
Seite 117 - Prompted to my revenge by heaven and hell, Must like a whore unpack my heart with words, And fall a-cursing like a very drab, A scullion!
Seite 125 - I have of late — but wherefore I know not — lost all my mirth, forgone all custom of exercises ; and indeed it goes so heavily with my disposition that this goodly frame, the earth, seems to me a sterile promontory ; this most excellent canopy, the air, look you, this brave o'erhanging firmament, this majestical roof fretted with golden fire, why, it appears no other thing to me than a foul and pestilent congregation of vapours.
Seite 24 - Is man no more than this? Consider him well. Thou owest the worm no silk, the beast no hide, the sheep no wool, the cat no perfume.
Seite 21 - A man may see how this world goes, with no eyes. Look with thine ears: see how yon' justice rails upon yon' simple thief. Hark, in thine ear: Change places; and, handydandy, which is the justice, which is the thief?
Seite 135 - O, for my sake do you with Fortune chide, The guilty goddess of my harmful deeds, That did not better for my life provide Than public means which public manners breeds. Thence comes it that my name receives a brand, And almost thence my nature is subdued To what it works in, like the dyer's hand...
Seite 96 - tis a common proof, That lowliness is young ambition's ladder, Whereto the climber upward turns his face; But when he once attains the upmost round, He then unto the ladder turns his back, Looks in the clouds, scorning the base degrees By which he did ascend.
Seite 102 - I remember, the players have often mentioned it as an honour to Shakespeare, that in his writing (whatsoever he penned) he never blotted out a line. My answer hath been, Would he had blotted a thousand.
Seite 133 - Coral is far more red than her lips' red: If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damask'd, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound...
Seite 118 - Of thinking too precisely on the event, A thought which, quarter'd, hath but one part wisdom And ever three parts coward, I do not know Why yet I live to say, This thing's to do ; Sith I have cause and will and strength and means To do't.