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 33
179-80 ) suggests that he stands close to Goneril , very attentive , and speaks with pliant conviction . Yet the brevity of his speeches could suggest that this “ Steward ” never speaks his full mind , that he is calculating and ...
179-80 ) suggests that he stands close to Goneril , very attentive , and speaks with pliant conviction . Yet the brevity of his speeches could suggest that this “ Steward ” never speaks his full mind , that he is calculating and ...
Seite 161
Edgar pretends to approach the clifftop ; perhaps he puffs and staggers , or in other physical ways suggests climbing . Gloucester remains unconvinced , and so at line 4 they stop to listen . With barely a hesitation , Edgar ...
Edgar pretends to approach the clifftop ; perhaps he puffs and staggers , or in other physical ways suggests climbing . Gloucester remains unconvinced , and so at line 4 they stop to listen . With barely a hesitation , Edgar ...
Seite 175
202-03 ) suggests that the sound of drums and marching men has been heard from off - stage for some time ( perhaps starting as early as line 180 ) . Otherwise the gentleman will sound brusque , as if stopped on the point of leaving to ...
202-03 ) suggests that the sound of drums and marching men has been heard from off - stage for some time ( perhaps starting as early as line 180 ) . Otherwise the gentleman will sound brusque , as if stopped on the point of leaving to ...
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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