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 66
130 Scene ii Enter KENT and OSWALD , severally . Oswald Good dawning to thee , friend . Art of this house ? ° KEN Ay . Oswald Where may we set our horses ? KENT I'th ' mire . o Oswald Prithee , if thou lovest me , tell me .
130 Scene ii Enter KENT and OSWALD , severally . Oswald Good dawning to thee , friend . Art of this house ? ° KEN Ay . Oswald Where may we set our horses ? KENT I'th ' mire . o Oswald Prithee , if thou lovest me , tell me .
Seite 69
I'll dunk your insubstantial being ( in sweat or blood ) base * fop 22-38 Oswald may keep his temper up to and including his rebuke of Kent ( II . 22-23 ) ; if so , Kent will be laughed at as well as with . But certainly when Kent makes ...
I'll dunk your insubstantial being ( in sweat or blood ) base * fop 22-38 Oswald may keep his temper up to and including his rebuke of Kent ( II . 22-23 ) ; if so , Kent will be laughed at as well as with . But certainly when Kent makes ...
Seite 159
Some Regans sound desperate here ; others reach out to touch Oswald's hand or embrace ( and sometimes even kiss ) him ... Whatever rapport had been implied earlier , she now cuts in on Oswald's speech without reserve ; the sexual nature ...
Some Regans sound desperate here ; others reach out to touch Oswald's hand or embrace ( and sometimes even kiss ) him ... Whatever rapport had been implied earlier , she now cuts in on Oswald's speech without reserve ; the sexual nature ...
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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