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 21
263-78 Goneril and Regan stay behind for urgent , private talk ( see I. 279 ) , but France and Cordelia also thoughts , concern remain . The three sisters face each other on the as an act of charity by ( fickle newly emptied stage .
263-78 Goneril and Regan stay behind for urgent , private talk ( see I. 279 ) , but France and Cordelia also thoughts , concern remain . The three sisters face each other on the as an act of charity by ( fickle newly emptied stage .
Seite 83
Kent's earlier talk of Fortune's wheel ( II.ii. 166 ) has prepared for something of the fool's attitudes ( but not his fatalism ) ; now , for the first time , they may sense a kinship in service . indeed ( Fr. , par Dieu ) 84-95 Lear ...
Kent's earlier talk of Fortune's wheel ( II.ii. 166 ) has prepared for something of the fool's attitudes ( but not his fatalism ) ; now , for the first time , they may sense a kinship in service . indeed ( Fr. , par Dieu ) 84-95 Lear ...
Seite 125
This talk of a “ son ” ( II . 11-12 ) stings Lear ; he is obsessed with his daughters , and cries out for hellish and painful revenge . For him the “ burning spits ” are as real as the storm had been , its power no longer discriminating ...
This talk of a “ son ” ( II . 11-12 ) stings Lear ; he is obsessed with his daughters , and cries out for hellish and painful revenge . For him the “ burning spits ” are as real as the storm had been , its power no longer discriminating ...
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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