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 49
She is then silent ( see the half - line , 232 ) ; and when Albany enters he probably goes to stand at her side . Lear has been bound up in his own thoughts and speaks at first to himself ( I. 233 ) . Then he turns to Albany , but the ...
She is then silent ( see the half - line , 232 ) ; and when Albany enters he probably goes to stand at her side . Lear has been bound up in his own thoughts and speaks at first to himself ( I. 233 ) . Then he turns to Albany , but the ...
Seite 121
Edgar is silent at first — what could he say ?but in reverting to his " fiend , ” as if to escape , he mentions killing ( l . 145 ) and , at this , Lear draws him aside earnestly . 147-57 As the storm swells again , Kent urges ...
Edgar is silent at first — what could he say ?but in reverting to his " fiend , ” as if to escape , he mentions killing ( l . 145 ) and , at this , Lear draws him aside earnestly . 147-57 As the storm swells again , Kent urges ...
Seite 135
straightforward in reply landed by conjecture * 45-55 Repeatedly Gloucester is silent before answering , as indicated by the incomplete verselines 44 , 46 , 50 , and 55. In performance various physical persuasions are employed by the ...
straightforward in reply landed by conjecture * 45-55 Repeatedly Gloucester is silent before answering , as indicated by the incomplete verselines 44 , 46 , 50 , and 55. In performance various physical persuasions are employed by the ...
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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