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 ix
While writing King Lear Shakespeare was very aware of this pattern for tragedy : the text refers to the turning of Fortune's " wheel ” ( II.11.166 ) , to the " rise " of one man's fortune when another “ falls ...
While writing King Lear Shakespeare was very aware of this pattern for tragedy : the text refers to the turning of Fortune's " wheel ” ( II.11.166 ) , to the " rise " of one man's fortune when another “ falls ...
Seite 174
EDGAR A most poor man , made tame to fortune's blows , Who , by the art of known and feeling sorrows , o Am pregnanto to good pity . Give me your hand , I'll lead you to some biding . ° GLOUCESTER Hearty thanks ; The bounty and the ...
EDGAR A most poor man , made tame to fortune's blows , Who , by the art of known and feeling sorrows , o Am pregnanto to good pity . Give me your hand , I'll lead you to some biding . ° GLOUCESTER Hearty thanks ; The bounty and the ...
Seite 205
wheel of Fortune 71 ) can be spoken as a boast ( an identification with evil , even as it is defeated ) or else as a confesson of guilt . Huge issues are involved here , but the audience is given little time to ponder them .
wheel of Fortune 71 ) can be spoken as a boast ( an identification with evil , even as it is defeated ) or else as a confesson of guilt . Huge issues are involved here , but the audience is given little time to ponder them .
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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