Shakespearean Illuminations: Essays in Honor of Marvin RosenbergUniversity of Delaware Press, 1998 - 371 Seiten Topics in this collection include discussions of acting the "Big Four, " as well as studies on politics, language, and history. |
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Seite 13
... theatrical performance and has been acknowledged as such since Aristotle . It need not , of course , be " character " in the sense of a modern subject , but when actors stand before us and perform a text , we almost inevitably perceive ...
... theatrical performance and has been acknowledged as such since Aristotle . It need not , of course , be " character " in the sense of a modern subject , but when actors stand before us and perform a text , we almost inevitably perceive ...
Seite 14
... theatrical character . The work of Belsey , Sinfield , and others has demonstrated the inadequacy of essentialist - humanist conceptions of character to the Shakespearean playtext . But if we are to find a way of dealing with the ...
... theatrical character . The work of Belsey , Sinfield , and others has demonstrated the inadequacy of essentialist - humanist conceptions of character to the Shakespearean playtext . But if we are to find a way of dealing with the ...
Seite 15
... theatrical character . As Sinfield notes , the text " suggest [ s ] " an " impression of subjectivity , interiority , consciousness " ( emphasis mine ) . Clearly , the impression is not in the text but in the mind of the reader . Yet a ...
... theatrical character . As Sinfield notes , the text " suggest [ s ] " an " impression of subjectivity , interiority , consciousness " ( emphasis mine ) . Clearly , the impression is not in the text but in the mind of the reader . Yet a ...
Seite 16
... theatrical significds capable of setting aside their signifying matter and eliminating any difference between the ver- bal and the non - verbal . ( 26 ) An important element in the creation of mise - en - scene is the con- struction of ...
... theatrical significds capable of setting aside their signifying matter and eliminating any difference between the ver- bal and the non - verbal . ( 26 ) An important element in the creation of mise - en - scene is the con- struction of ...
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Inhalt
7 | |
11 | |
13 | |
Gertred Captive Queen of the First Quarto | 33 |
The LaertesHamlet Connection | 50 |
Othello | 70 |
King Lear versus Hamlet in Eastern Europe | 93 |
Staging King Lear 11 and 53 | 102 |
HistoryMaking in the Henriad | 203 |
Interrogative Dramatic Structure in Julius Caesar | 220 |
Marlowe and Shakespeares African Queens | 242 |
Actors and Acting Directing and Staging | 253 |
On the Aesthetics of Acting | 255 |
Or Is There Such a Thing as an ActorPlaywright? | 267 |
What Do I Do Now? Directing A Midsummer Nights Dream | 279 |
Mary Anderson Shakespeare and Statuesque Acting | 297 |
A Letter to the Actor Playing Lear | 110 |
The Residue of Difference in Scripts The Case of Polanskis Macbeth | 131 |
Macbeth at the Turn of the Millennium | 147 |
Who Has No Children in Macbeth? | 164 |
Language Politics and History | 181 |
SiteReading Shakespeares Dramatic Scores | 183 |
The Case of The Duchess of Malfi | 317 |
Women Play Women in the Liturgical Drama of the Middle Ages | 336 |
List of Contributors | 361 |
365 | |
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