The Adventures of a Shakespeare Scholar: To Discover Shakespeare's Art, Band 10University of Delaware Press, 1997 - 365 Seiten Rarely does a scholar single-handedly point Shakespeare study in a new direction. But in the 1950s, when brilliant insights were being achieved in Shakespeare's language, and a few theatre historians were recording stagings and stage business, Marvin Rosenberg led the way to a wider perspective of the poet-playwright's genius. He insisted that Shakespeare's art fused poetry-of-the-word with poetry-of-the-theatre, each illuminating the other inseparably. |
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Seite 12
... become an actor in the theater of his or her own mind , to imagine a role as a professional actor must do , thereby bringing the play to life - unlike the way we usu- ally read . But his greatest achievement is undoubtedly his theory of ...
... become an actor in the theater of his or her own mind , to imagine a role as a professional actor must do , thereby bringing the play to life - unlike the way we usu- ally read . But his greatest achievement is undoubtedly his theory of ...
Seite 23
... becoming skilled in sensing the intended physical play of Shakespeare's languages , and we are hearing behind his words the deeper , often silent , revelations of inwardness — as for instance in the first exchanges between Hamlet and ...
... becoming skilled in sensing the intended physical play of Shakespeare's languages , and we are hearing behind his words the deeper , often silent , revelations of inwardness — as for instance in the first exchanges between Hamlet and ...
Seite 24
... with life , to the very end he is always becoming . Again like us ; though we are not likely to have to adjust to the violent impacts that press on him . Thankfully , other new critical approaches flourish . Much invaluable 24 PROLOGUE.
... with life , to the very end he is always becoming . Again like us ; though we are not likely to have to adjust to the violent impacts that press on him . Thankfully , other new critical approaches flourish . Much invaluable 24 PROLOGUE.
Seite 29
... becomes what he feels , what he does , what he does not do , what he says , what he does not say , what people think and say of him . But what will mainly identify his character for us are the human traits Shakespeare invested in him ...
... becomes what he feels , what he does , what he does not do , what he says , what he does not say , what people think and say of him . But what will mainly identify his character for us are the human traits Shakespeare invested in him ...
Seite 31
... become a kind of projection test for his interpreters . Some of us , as readers or actors , identifying ( and identifying with ) our Prince , have found him mainly at the lyrical end of the spectrum : a sweet , young man , noble ...
... become a kind of projection test for his interpreters . Some of us , as readers or actors , identifying ( and identifying with ) our Prince , have found him mainly at the lyrical end of the spectrum : a sweet , young man , noble ...
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
action actors aesthetic ambiguity Angelo arousal artistic asked audience Banquo Cassio character characterization child Claudius colleagues comedy complex contextual Cordelia critics David Garrick death Desdemona drama Duke Edgar eighteenth century Elizabethan emotional essay experience eyes fantasy father feel Fool Garrick Gertrude gestures Gloster Hall hero human Iago Iago's imagery imagine impulses Isabella Kemble kill kind King Lear Lady Macbeth Laertes language Lear's learned linear lines look Masks Measure for Measure mind Modern Language Association motivation moved murder Ophelia Othello passion patterns performance perhaps personality play play's playwright poetry Polonius polyphony power Hamlet rehearsals response role Salvini scene scholars Scofield seems sense sexual Shake Shakespeare Conference shock soliloquy sometimes sound speak speare's spectators speech stage Stratford subtext suggest sweet Hamlet symbolic theater thing thou thought tion tragedy tragic tragic heroes verbal videotape visual voice words
Beliebte Passagen
Seite 108 - O, reason not the need ! our basest beggars Are in the poorest thing superfluous : Allow not nature more than nature needs, Man's life is cheap, as beast's : thou art a lady ; If only to go warm were gorgeous, Why, nature needs not what thou gorgeous wear'st, Which scarcely keeps thee warm.
Seite 106 - Hear, nature, hear ; dear goddess, hear ! — Suspend thy purpose, if thou didst intend To make this creature fruitful ! Into her womb convey sterility ! Dry up in her the organs of increase ; And from her derogate body never spring A babe to honour her ! If she must teem, Create her child of spleen ; that it may live, And be a thwart disnatured torment to her...
Seite 110 - Poor naked wretches, wheresoe'er you are, That bide the pelting of this pitiless storm, How shall your houseless heads, and unfed sides, Your loop'd and window'd raggedness, defend you From seasons such as these...
Seite 125 - Which would be worn now in their newest gloss, Not cast aside so soon. Lady M. Was the hope drunk Wherein you dress'd yourself? hath it slept since, And wakes it now, to look so green and pale At what it did so freely ? From this time Such I account thy love. Art thou...
Seite 98 - From too much liberty, my Lucio, liberty ; As surfeit is the father of much fast, So every scope by the immoderate use Turns to restraint; our natures do pursue (Like rats that ravin down their proper bane,) A thirsty evil ; and when we drinK, we die.
Seite 290 - I have heard That guilty creatures, sitting at a play, Have by the very cunning of the scene Been struck so to the soul that presently They have proclaim'd their malefactions; For murder, though it have no tongue, will speak With most miraculous organ.
Seite 209 - Sir, I love you more than words can wield the matter; Dearer than eyesight, space, and liberty; Beyond what can be valued, rich or rare...