Shakespearean CriticismRalph Berry, Graham Bradshaw, William C. Carroll Cengage Gale, 1999 - 420 Seiten Presents literary criticism on the plays and poetry of Shakespeare. Critical essays are selected from leading sources, including journals, magazines, books, reviews, diaries, newspapers, pamphlets, and scholarly papers. Includes commentary by Shakespeare's contemporaries as well as a full range of views from later centuries, with an emphasis on contemporary analysis. Includes aesthetic criticism, textual criticism, and criticism of Shakespeare in performance. |
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Seite 30
... audience as well as the actor have a vital role . Or , as I tell my own actors , to be onstage speaking lines with no audience in the house is to be in rehearsal only , not in a production . Their presence validates ours ; the ...
... audience as well as the actor have a vital role . Or , as I tell my own actors , to be onstage speaking lines with no audience in the house is to be in rehearsal only , not in a production . Their presence validates ours ; the ...
Seite 100
... audience they engage is a fiction , a vir- tual audience constituted by the direction and express motivation of address and thus pre - existing any actual audience . This holds true for minor as well as major characters for clowns and ...
... audience they engage is a fiction , a vir- tual audience constituted by the direction and express motivation of address and thus pre - existing any actual audience . This holds true for minor as well as major characters for clowns and ...
Seite 101
... audience . But the premise that actor and character address the same audience is a theoretical solecism . It may not make much prac- tical difference in the case of the Vice and Clown , but its impact on the response to principal ...
... audience . But the premise that actor and character address the same audience is a theoretical solecism . It may not make much prac- tical difference in the case of the Vice and Clown , but its impact on the response to principal ...
Inhalt
Representation and Reformation in Measure for Measure | 14 |
Sidney Homann What Do I Do Now? Directing A Midsummer Nights Dream | 23 |
Lisa Hopkins Marriage as Comic Closure | 32 |
Urheberrecht | |
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