Shakespearean Illuminations: Essays in Honor of Marvin RosenbergUniversity of Delaware Press, 1998 - 371 Seiten Topics in this collection include discussions of acting the "Big Four, " as well as studies on politics, language, and history. |
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Ergebnisse 1-5 von 48
Seite 24
... action that even feminist critics have taken as evi- dence of an obsession with Claudius that endures to the end of the play , thereby eliminating the possibility of a post - closet - scene rift . In both criticism and performance ...
... action that even feminist critics have taken as evi- dence of an obsession with Claudius that endures to the end of the play , thereby eliminating the possibility of a post - closet - scene rift . In both criticism and performance ...
Seite 25
... action , in Gertrude's response to learning that the " rabble " are calling for Laertes to be king : How cheerefully on the false traile they cry . O this is counter you false Danish dogges . ( 4.5.110-11 ) 17 These lines are surprising ...
... action , in Gertrude's response to learning that the " rabble " are calling for Laertes to be king : How cheerefully on the false traile they cry . O this is counter you false Danish dogges . ( 4.5.110-11 ) 17 These lines are surprising ...
Seite 26
... action not as personal revenge ( like Hamlet's ) , but as a rebellion that has " put the bottom rail on the top " —invoking pro- found hierarchical anxieties in a way that Hamlet's attempts to kill the King specifically do not . Perhaps ...
... action not as personal revenge ( like Hamlet's ) , but as a rebellion that has " put the bottom rail on the top " —invoking pro- found hierarchical anxieties in a way that Hamlet's attempts to kill the King specifically do not . Perhaps ...
Seite 27
... action of restraining Laertes . It is the actor's ( or critic's ) work in developing a specific Gertrude - character that fills that action , endowing it with meaning as the character is embodied . MAPPING THE ROLE 27.
... action of restraining Laertes . It is the actor's ( or critic's ) work in developing a specific Gertrude - character that fills that action , endowing it with meaning as the character is embodied . MAPPING THE ROLE 27.
Seite 28
... action that might otherwise escape our atten- tion . In those details , we may discern patterns , which in turn pro- vide the basis for our construction of some form of character . In the Gertrude - role , the shift point at the closet ...
... action that might otherwise escape our atten- tion . In those details , we may discern patterns , which in turn pro- vide the basis for our construction of some form of character . In the Gertrude - role , the shift point at the closet ...
Inhalt
7 | |
11 | |
13 | |
33 | |
The LaertesHamlet Connection | 50 |
Othello | 70 |
King Lear versus Hamlet in Eastern Europe | 93 |
Staging King Lear 11 and 53 | 102 |
HistoryMaking in the Henriad | 203 |
Interrogative Dramatic Structure in Julius Caesar | 220 |
Marlowe and Shakespeares African Queens | 242 |
Actors and Acting Directing and Staging | 253 |
On the Aesthetics of Acting | 255 |
Or Is There Such a Thing as an ActorPlaywright? | 267 |
What Do I Do Now? Directing A Midsummer Nights Dream | 279 |
Mary Anderson Shakespeare and Statuesque Acting | 297 |
A Letter to the Actor Playing Lear | 110 |
The Residue of Difference in Scripts The Case of Polanskis Macbeth | 131 |
Macbeth at the Turn of the Millennium | 147 |
Who Has No Children in Macbeth? | 164 |
Language Politics and History | 181 |
SiteReading Shakespeares Dramatic Scores | 183 |
The Case of The Duchess of Malfi | 317 |
Women Play Women in the Liturgical Drama of the Middle Ages | 336 |
List of Contributors | 361 |
Index | 365 |
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Häufige Begriffe und Wortgruppen
Abbess action actors actress Aeneas Anderson's Antony appears audience Barking body Brutus camera century character Claudius Cleopatra closet scene confession Corambis Cordelia criticism culture death Desdemona Dido director discourse drama Duchess Duchess of Malfi Edgar edition Elizabethan Emilia English essay exit film final Folio Gernrode Gertrude Gertrude's Hamlet hand Henry Hippolyta Iago interpretation Juliet Julius Caesar King Lear kiss Lady Laertes Lear's liturgical drama London look Macbeth Macduff Malcolm Marlowe Marlowe's Mary Magdalen Midsummer Night's Dream Miss Bretherton modern murder onstage Ophelia Origny Othello performance play play's playwright Polanski political powre production Quarto Queen reading Renaissance role Roman Romanitas Romeo and Juliet Ross script seems sense Sepulcher Shake Shakespeare singing speak speare speech stage direction Stephen Booth suggest textual theater theatrical thee Theseus tion tragedy tragic University Press Visitatio wife witches woman women words York
Beliebte Passagen
Seite 167 - I shall do so ; But I must also feel it as a man : I cannot but remember such things were, That were most precious to me.
Seite 121 - Poor naked wretches, wheresoe'er you are, That bide the pelting of this pitiless storm, How shall your houseless heads and unfed sides, Your loop'd and window'd raggedness, defend you From seasons such as these ? O, I have ta'en Too little care of this ! Take physic, pomp ; Expose thyself to feel what wretches feel, That thou mayst shake the superflux to them, And show the heavens more just.
Seite 123 - Let no man deceive himself. If any man among you seemeth to be wise in this world, let him become a fool, that he may be wise.
Seite 215 - The which observed, a man may prophesy, With a near aim, of the main chance of things As yet not come to life, which in their seeds And weak beginnings lie intreasured. Such things become the hatch and brood of time...
Seite 174 - Is fall'n into the sear, the yellow leaf ; And that which should accompany old age, As honour, love, obedience, troops of friends, I must not look to have ; but, in their stead, Curses, not loud but deep, mouth-honour, breath, Which the poor heart would fain deny, and dare not.
Seite 166 - Merciful heaven! What, man! ne'er pull your hat upon your brows; Give sorrow words: the grief that does not speak Whispers the o'erfraught heart, and bids it break.
Seite 122 - Where is the wise ? where is the scribe? where is the disputer of this world ? hath not God made foolish the wisdom of this world ? for after that in the wisdom of God the world by wisdom knew not God, it pleased God by the foolishness of preaching to save them that believe.