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 7
Regan's is the easier to speak as if improvised ( or as a calculated impression of such territories spontaneity ) ; she can pause as if all is concluded at shady ( well - tilled ) country the end of line 67 , and either face or turn ...
Regan's is the easier to speak as if improvised ( or as a calculated impression of such territories spontaneity ) ; she can pause as if all is concluded at shady ( well - tilled ) country the end of line 67 , and either face or turn ...
Seite 83
... power : " the murder in his eye is far more chilling than blood or gore would be ” ( New York Times ) . Other Lears have been more reckless , and some pathetic , not knowing what to do and sure only that they need to be face - to ...
... power : " the murder in his eye is far more chilling than blood or gore would be ” ( New York Times ) . Other Lears have been more reckless , and some pathetic , not knowing what to do and sure only that they need to be face - to ...
Seite 195
... probably his face has been a mask because he has already written the letter instructing their assassination . Now he calls a particular captain over to him and proceeds quietly and deftly , with his plan . " Know thou this .
... probably his face has been a mask because he has already written the letter instructing their assassination . Now he calls a particular captain over to him and proceeds quietly and deftly , with his plan . " Know thou this .
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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