King Lear(Applause Books). These popular editions allow the reader and student to look beyond the scholarly reading text to the more sensuous, more collaborative, more malleable performance text which emerges in conjunction with the commentary and notes. Each note, each gloss, each commentary reflects the stage life of the play with constant reference to the challenge of the text in performance. Readers will not only discover an enlivened Shakespeare, they will be empowered to rehearse and direct their own productions of the imagination in the process. |
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Seite 25
( The audience may note the echo , but Gloucester cannot because he was offstage when Cordelia spoke first . ) ... by Edmund will seem to be for his own pleasure and Gloucester's gullibility the result almost entirely of his own fears .
( The audience may note the echo , but Gloucester cannot because he was offstage when Cordelia spoke first . ) ... by Edmund will seem to be for his own pleasure and Gloucester's gullibility the result almost entirely of his own fears .
Seite 119
Kent turns now to Lear who is absorbed in the " walking fire ” ; but he cannot identify Gloucester yet . ... 129-30 ) ; prepany sumably all eyes him , following Gloucester's question ( I. 128 ) and so he was forced begets at last to ...
Kent turns now to Lear who is absorbed in the " walking fire ” ; but he cannot identify Gloucester yet . ... 129-30 ) ; prepany sumably all eyes him , following Gloucester's question ( I. 128 ) and so he was forced begets at last to ...
Seite 137
After a pause , Gloucester speaks as a broken man , and a guilty one ; his hope now must be in the gods and in the son he ... 92 ) must seem to thrust Gloucester's understanding forward as if by a blinding stroke - the more strange and ...
After a pause , Gloucester speaks as a broken man , and a guilty one ; his hope now must be in the gods and in the son he ... 92 ) must seem to thrust Gloucester's understanding forward as if by a blinding stroke - the more strange and ...
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action actor Albany answer appear arms asks attention audience authority become breaks bring character close comes Cordelia CORNWALL danger daughters death draw duke Edgar Edmund effect Enter Exit eyes face fall father fear feeling fiend follow fool fortune France further give Gloucester Gloucester's gods Goneril hand hath head hear heart hold immediately keep Kent kill king Lear Lear's leaves letter live look lord master means mind move nature never night offer omits once Oswald pain pause performance perhaps play poor probably question Regan response scene seems sense servant Shakespeare silent sister speak speech spoken stage stands storm suffering talk tears thee thing thou thoughts tion tries true turns voice whole