Richard IIIJunction Books, 1981 - 266 Seiten "I feel that I have spent half my career with one or another Pelican Shakespeare in my back pocket. Convenience, however, is the least important aspect of the new Pelican Shakespeare series. Here is an elegant and clear text for either the study or the rehearsal room, notes where you need them and the distinguished scholarship of the general editors, Stephen Orgel and A. R. Braunmuller who understand that these are plays for performance as well as great texts for contemplation." (Patrick Stewart) The distinguished Pelican Shakespeare series, which has sold more than four million copies, is now completely revised and repackaged. Each volume features: |
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Seite 32
... voice , it was an easy target for parody , and it provided the comedy for several plays of the late seventeenth century , where the directions call for a ' feigned heroic tone ' or a ' lover's whining voice ' or simply ' a tone'60 When ...
... voice , it was an easy target for parody , and it provided the comedy for several plays of the late seventeenth century , where the directions call for a ' feigned heroic tone ' or a ' lover's whining voice ' or simply ' a tone'60 When ...
Seite 42
... voices were rhythmical and cadenced , though both voice and gesture could be thrown into the passionate violence of the romantic tragedies that were fashionable at that time . Sarah Siddons by all accounts possessed a power that ...
... voices were rhythmical and cadenced , though both voice and gesture could be thrown into the passionate violence of the romantic tragedies that were fashionable at that time . Sarah Siddons by all accounts possessed a power that ...
Seite 67
... voice to carry ' . Ironically the very qualities for which Shakespeare's play was revived , refinement , intellect and morality , were largely ignored the moment that the play had come into its own . The first performance since Irving ...
... voice to carry ' . Ironically the very qualities for which Shakespeare's play was revived , refinement , intellect and morality , were largely ignored the moment that the play had come into its own . The first performance since Irving ...
Inhalt
Preface by Jeremy Treglown | 1 |
Introduction | 9 |
Richard III | 85 |
Urheberrecht | |
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acting actors arms audience Audrey Williamson blood Boaden Booth BRAKENBURY brother Buckingham Catesby century Charles Kean Cibber cut Cibber's version CITIZEN Clarence Colley Cibber Cooke crown curse dead death Dorset doth dream Drury Lane DUCHESS OF YORK Duke Edmund Kean Edwin Booth Elizabethan Enter Richard Exeunt Exit eyes fear Garrick Genest Gentleman ghosts give Gloucester grace Hackett hath Hazlitt head heart heaven Henry Henry VI horse Ian Holm Ibid Irving Irving's John Wood Kean's Kemble KING RICHARD Lady Anne lines live London look Lord Hastings Macready madam Mayor MESSENGER mother night noble Norfolk Olivier performance Peter Hall's production Phelps PRINCE EDWARD promptbook QUEEN ELIZABETH QUEEN MARGARET quoted Ratcliffe restored reviewer Richard III Richmond Rivers royal scene SECOND MURDERER Shakespeare Shakespearian Shaw soliloquy soul speech Sprague sword tell tent Terry Hands Theatre theatrical thee thou thought throne Tower Tyrrel unto villain voice William Wolfit words young