Shakespearean Illuminations: Essays in Honor of Marvin RosenbergUniversity of Delaware Press, 1998 - 371 sider Topics in this collection include discussions of acting the "Big Four, " as well as studies on politics, language, and history. |
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Side 14
... stage ... the stage brought into conjunction and indeed into collision the emblematic mode and an emergent illusionism . ( 26 ) As a result , the drama of 1576-1642 offers " intimations of the con- struction of a place which notions of ...
... stage ... the stage brought into conjunction and indeed into collision the emblematic mode and an emergent illusionism . ( 26 ) As a result , the drama of 1576-1642 offers " intimations of the con- struction of a place which notions of ...
Side 16
... stage significds which would amount to no more than a repetition , inevitably superfluous , . . . of the text itself . That would entail disregarding the signifying materiality of verbal and stage signs and positing theatrical ...
... stage significds which would amount to no more than a repetition , inevitably superfluous , . . . of the text itself . That would entail disregarding the signifying materiality of verbal and stage signs and positing theatrical ...
Side 17
... stage directions may create still other versions of the role , as do cuts or alterations for performance . We can only discuss the role as defined by a particular text . Within a given text , the role is shaped by the nuances of every ...
... stage directions may create still other versions of the role , as do cuts or alterations for performance . We can only discuss the role as defined by a particular text . Within a given text , the role is shaped by the nuances of every ...
Side 19
... stage directions of the Folio and Quarto texts . But most ac- tions called for by the text are implicit in the dialogue rather than made explicit in stage directions . ( When Claudius says , " Let him go , Gertrude " [ 4.5.123 ] 8 we ...
... stage directions of the Folio and Quarto texts . But most ac- tions called for by the text are implicit in the dialogue rather than made explicit in stage directions . ( When Claudius says , " Let him go , Gertrude " [ 4.5.123 ] 8 we ...
Side 23
... stage directions : although only a singular " exit " is given , Gertrude is included in the immediately following entry ( along with the King , Rosencrantz , and Guildenstern ) , creating a rare exception to the so - called law of ...
... stage directions : although only a singular " exit " is given , Gertrude is included in the immediately following entry ( along with the King , Rosencrantz , and Guildenstern ) , creating a rare exception to the so - called law of ...
Indhold
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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Shakespearean Illuminations: Essays in Honor of Marvin Rosenberg Marvin Rosenberg Uddragsvisning - 1998 |
Almindelige termer og sætninger
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
Populære passager
Side 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.
Side 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.
Side 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.
Side 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...
Side 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.
Side 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.
Side 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.