Shakespearean Illuminations: Essays in Honor of Marvin RosenbergUniversity of Delaware Press, 1998 - 371 páginas Topics in this collection include discussions of acting the "Big Four, " as well as studies on politics, language, and history. |
Dentro del libro
Resultados 1-5 de 50
Página 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 ...
Página 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 ...
Página 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 ...
Página 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 ...
Página 19
... theatrical and critical — and to approach the role itself with an awareness of its potential to produce multiple characters , does offer a more open- ended and more self - conscious approach to the production of meaning than traditional ...
... theatrical and critical — and to approach the role itself with an awareness of its potential to produce multiple characters , does offer a more open- ended and more self - conscious approach to the production of meaning than traditional ...
Contenido
7 | |
11 | |
13 | |
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 |
Index | 365 |
Otras ediciones - Ver todas
Shakespearean Illuminations: Essays in Honor of Marvin Rosenberg Marvin Rosenberg Vista de fragmentos - 1998 |
Términos y frases comunes
Abbess action actors actress Aeneas Anderson's Antony appears audience Barking body Brutus camera century character Claudius Cleopatra closet scene confession Corambis Cordelia criticism culture death Desdemona Dido director discourse drama Duchess Duchess of Malfi Edgar edition Elizabethan Emilia English essay exit film final Folio Gernrode Gertrude Gertrude's Hamlet hand Henry Hippolyta Iago interpretation Juliet Julius Caesar King Lear kiss Lady Laertes Lear's liturgical drama London look Macbeth Macduff Malcolm Marlowe Marlowe's Mary Magdalen Midsummer Night's Dream Miss Bretherton modern murder onstage Ophelia Origny Othello performance play play's playwright Polanski political powre production Quarto Queen reading Renaissance role Roman Romanitas Romeo and Juliet Ross script seems sense Sepulcher Shake Shakespeare singing speak speare speech stage direction Stephen Booth suggest textual theater theatrical thee Theseus tion tragedy tragic University Press Visitatio wife witches woman women words York
Pasajes populares
Página 167 - I shall do so ; But I must also feel it as a man : I cannot but remember such things were, That were most precious to me.
Página 121 - 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 ? O, I have ta'en Too little care of this ! Take physic, pomp ; Expose thyself to feel what wretches feel, That thou mayst shake the superflux to them, And show the heavens more just.
Página 123 - Let no man deceive himself. If any man among you seemeth to be wise in this world, let him become a fool, that he may be wise.
Página 215 - The which observed, a man may prophesy, With a near aim, of the main chance of things As yet not come to life, which in their seeds And weak beginnings lie intreasured. Such things become the hatch and brood of time...
Página 174 - Is fall'n into the sear, the yellow leaf ; And that which should accompany old age, As honour, love, obedience, troops of friends, I must not look to have ; but, in their stead, Curses, not loud but deep, mouth-honour, breath, Which the poor heart would fain deny, and dare not.
Página 166 - Merciful heaven! What, man! ne'er pull your hat upon your brows; Give sorrow words: the grief that does not speak Whispers the o'erfraught heart, and bids it break.
Página 122 - Where is the wise ? where is the scribe? where is the disputer of this world ? hath not God made foolish the wisdom of this world ? for after that in the wisdom of God the world by wisdom knew not God, it pleased God by the foolishness of preaching to save them that believe.