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 xii
... Never , never , never , never , never , ” and many more such phrases in the last scene of the play . Other compelling moments occur when a character loses the power of speech while others continue to talk : such silences are the ...
... Never , never , never , never , never , ” and many more such phrases in the last scene of the play . Other compelling moments occur when a character loses the power of speech while others continue to talk : such silences are the ...
Seite 186
REGAN But have you never found my brother's way To the forfendedo place ? EDMUND That thought abuseso you . REGAN I am doubtful that you have been conjuncto And bosomedo with her , as far as we call hers . ° EDMUND No , by mine honor ...
REGAN But have you never found my brother's way To the forfendedo place ? EDMUND That thought abuseso you . REGAN I am doubtful that you have been conjuncto And bosomedo with her , as far as we call hers . ° EDMUND No , by mine honor ...
Seite 213
Donald Wolfit's Lear felt " for words as if to pierce the cruel mystery of his own madness , ” and barely whispered : " No , no , no life ... never , never ” ( Evening Standard , 1944 ) . Alternatively , Lear's voice may rise , in anger ...
Donald Wolfit's Lear felt " for words as if to pierce the cruel mystery of his own madness , ” and barely whispered : " No , no , no life ... never , never ” ( Evening Standard , 1944 ) . Alternatively , Lear's voice may rise , in anger ...
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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