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 43
( Some directors bring him on , close to Lear or Cordelia , in that opening scene so that such lines as this register with the fool here and at II.iv.60-61 , when the fool asks Lear for a response , it is the king who brings the fooling ...
( Some directors bring him on , close to Lear or Cordelia , in that opening scene so that such lines as this register with the fool here and at II.iv.60-61 , when the fool asks Lear for a response , it is the king who brings the fooling ...
Seite 183
Cordelia keeps looking at him , and holding him ; but when she asks if he knows her , it is clear that Lear has relapsed into his dreams or fantasies ( I. 49 ) . ever mistaken , astray 51-57 On the doctor's instruction , Cordelia ...
Cordelia keeps looking at him , and holding him ; but when she asks if he knows her , it is clear that Lear has relapsed into his dreams or fantasies ( I. 49 ) . ever mistaken , astray 51-57 On the doctor's instruction , Cordelia ...
Seite 205
Albany interposes to greet Edgar ; they embrace and Albany , ignoring Edmund , asks for his story . manner of approach promised honorable 178-98 Only the end of Edgar's narrative contains hear news for the audience , and so the speech ...
Albany interposes to greet Edgar ; they embrace and Albany , ignoring Edmund , asks for his story . manner of approach promised honorable 178-98 Only the end of Edgar's narrative contains hear news for the audience , and so the speech ...
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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