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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It gives an impression of how actors can bring life to the text and shows how certain speeches , movements , or silences take on huge importance once the words have left the page and become part of a performance .
It gives an impression of how actors can bring life to the text and shows how certain speeches , movements , or silences take on huge importance once the words have left the page and become part of a performance .
Seite vi
Performances cannot be confined to a single , unalterable realization : rather , each production is continually ... With this text in hand , the play can be produced in the theatre of the mind , creating a performance suitable to the ...
Performances cannot be confined to a single , unalterable realization : rather , each production is continually ... With this text in hand , the play can be produced in the theatre of the mind , creating a performance suitable to the ...
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his performance : " You fall precipitately upon your knees , extend your arms , clench your hands , set your teeth , and with a savage distraction in your look -trembling in all your limbs and your eyes pointed to childbearing heaven ...
his performance : " You fall precipitately upon your knees , extend your arms , clench your hands , set your teeth , and with a savage distraction in your look -trembling in all your limbs and your eyes pointed to childbearing heaven ...
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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