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 17
He professes great concern and respect for the young king , perhaps feeling a need to show his finer feelings . Faced with the young , “ hot - blooded ” ( II.iv.206 ) rival for Cordelia's love , Lear may become both more correct in ...
He professes great concern and respect for the young king , perhaps feeling a need to show his finer feelings . Faced with the young , “ hot - blooded ” ( II.iv.206 ) rival for Cordelia's love , Lear may become both more correct in ...
Seite 49
is the first of a series of repetitions in which Lear's feelings seem to overpower intention and purposeful speech . ... expressing not only bitter invective and images of barrenness , but also the delicate feeling of line 261 and the ...
is the first of a series of repetitions in which Lear's feelings seem to overpower intention and purposeful speech . ... expressing not only bitter invective and images of barrenness , but also the delicate feeling of line 261 and the ...
Seite 125
... now feeling more protected , begins to pose riddles as in his earlier scenes . His first is in response to Mad Tom : does he look pityingly or competitively at the wretched creature who has taken his place in Lear's affections ?
... now feeling more protected , begins to pose riddles as in his earlier scenes . His first is in response to Mad Tom : does he look pityingly or competitively at the wretched creature who has taken his place in Lear's affections ?
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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