Shakespeare in the Limelight: An Anthology of Theatre CriticismBlackie, 1968 - 150 sider |
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Side 4
... line ; our assessment of what we are , what others are , can only have validity when we try to know the nature of that line of life which stretches behind us . A critic who , for example , praises the ' new ' stage business in a modern ...
... line ; our assessment of what we are , what others are , can only have validity when we try to know the nature of that line of life which stretches behind us . A critic who , for example , praises the ' new ' stage business in a modern ...
Side 47
... lines , all naturally resulting from the agitations of a mind anxiously inquiring into the truth of that which it dreads to know ! Even the under character , Salisbury , is called upon , by the words of Constance , to express the ...
... lines , all naturally resulting from the agitations of a mind anxiously inquiring into the truth of that which it dreads to know ! Even the under character , Salisbury , is called upon , by the words of Constance , to express the ...
Side 101
... lines of Shakespear ; but the result is not a madman , but simply one of those monsters produced by the imaginary combina- tion of two normal species , such as sphinxes , mermaids , or centaurs . And this is the invariable resource of ...
... lines of Shakespear ; but the result is not a madman , but simply one of those monsters produced by the imaginary combina- tion of two normal species , such as sphinxes , mermaids , or centaurs . And this is the invariable resource of ...
Almindelige termer og sætninger
20th century action actor actress admirable agony appearance applause attitude audience beauty believe Ben Jonson Betterton character Cibber Colley Cibber comedy comic Cordelia Coriolanus curtain Davenant director dramatic criticism dramatist dress effect Elizabethan theatre exciting expression eyes Falstaff feeling Fool Garrick genius Ghost give Goneril graceful Guildenstern Hamlet Hazlitt heart Henry Hotspur imagination Irving John Jonson Kean Kemble Kenneth Tynan King Lear Lady Lear's look Macbeth Macready manner meaning Merry Wives mind modern nature never night Ophelia Othello passages passion performance person players poet present Prince production rage reason Restoration Richard Richard III Royal Shakespeare Theatre Sarah Siddons scene seems sense sensibility sentiment Shake Shakespeare Theatre Company Shakespeare's plays shew Siddons soliloquy speak spectators speech stage taste theatre critic theatrical thing third act Thomas Thomas Nashe thought tion tone tragedy Tynan utter voice William words