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 27
In early performances , he thus introduced a familiar note of middle - aged , prudential , conservative , credulous and defeatist opinion that the audience would recognize immediately in their own experience .
In early performances , he thus introduced a familiar note of middle - aged , prudential , conservative , credulous and defeatist opinion that the audience would recognize immediately in their own experience .
Seite 67
pound for hard at Oswald at line 11 , or immediately before . He changes from uncommunicative responses and stray animals worry about resentment , to a show of great energy ; this happens am not acquainted with you after Oswald's " What ...
pound for hard at Oswald at line 11 , or immediately before . He changes from uncommunicative responses and stray animals worry about resentment , to a show of great energy ; this happens am not acquainted with you after Oswald's " What ...
Seite 213
attend to that immediately conflict / change downfall time ” ( 1. 320 ) . The play can become very , very slow in performance and so , perhaps , Lear should speak more lightly and quickly than Kent , protected by his recurring craziness ...
attend to that immediately conflict / change downfall time ” ( 1. 320 ) . The play can become very , very slow in performance and so , perhaps , Lear should speak more lightly and quickly than Kent , protected by his recurring craziness ...
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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