Shakespeare at WorkClarendon Press, 1995 - 292 Seiten It is now accepted that Shakespeare revised many of his most celebrated plays. But how were the great tragedies altered and with what effects? John Jones looks at the implications of Shakespeare's revisions for the reader and spectator alike and shows the playwright getting to grips with the problems of characterization and scene formation in such plays as Hamlet, Othello, King Lear, and Troilus and Cressida. In characteristically lucid and accessible prose, John Jones assesses recent textual scholarship on Shakespeare's revisions and illuminates the artistic impact of the revised texts and their importance for our understanding of each play's moral and metaphysical foundations. Shakespeare at Work brings together English literature's greatest writer and one of its most distinguished critics. the result is a book that will be essential and entertaining reading for scholars, students, and Shakespeare enthusiasts alike. |
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Seite 116
... actor playing Polonius is reminding the house that he played Caesar to Richard Burbage's Brutus , and — a third side to the one allusion - darkly hinting that he will be killed again by the same actor in the present play . All this may ...
... actor playing Polonius is reminding the house that he played Caesar to Richard Burbage's Brutus , and — a third side to the one allusion - darkly hinting that he will be killed again by the same actor in the present play . All this may ...
Seite 133
... actor who was in tears telling her story . But would that actor deny she is nothing ? Probably . But in what terms would he refuse to renounce Hecuba ? How do he and Hamlet stand in relation to her ? ( As to real - life vengeance , the ...
... actor who was in tears telling her story . But would that actor deny she is nothing ? Probably . But in what terms would he refuse to renounce Hecuba ? How do he and Hamlet stand in relation to her ? ( As to real - life vengeance , the ...
Seite 134
... actor , for this loose- ness is the space , the area of say and do , which Shakespeare exploits to conjure the tragic mirage , so familiar in this play , of a lacerated , introverted sensibility reachable and inspectable by us and ...
... actor , for this loose- ness is the space , the area of say and do , which Shakespeare exploits to conjure the tragic mirage , so familiar in this play , of a lacerated , introverted sensibility reachable and inspectable by us and ...
Inhalt
FIRST | 11 |
Sir Thomas More | 11 |
The History Plays especially | 36 |
Urheberrecht | |
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