Stage Directions in Hamlet: New Essays and New DirectionsHardin L. Aasand Fairleigh Dickinson Univ Press, 2003 - 234 páginas The subject of stage directions in 'Hamlet', those brief semiotic codes that are embellished by historical, theatrical, and cultural considerations, produces a rigorous examination in the fifteen essays contained in this collection. This volume encompasses essays that are guardedly inductive in their critical approaches, as well as those that critique modern productions that attempt to achieve Shakespearean effect through a modern aesthetic. The volume also includes essays that enunciate the production of stage business as a cultural interplay between productions and social agencies outside the theater. |
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Página 21
... course , not only getting into deep theoretical water but swallowing the eclectic bait floating just under its surface . For example , just like those eclectic editors , who assume an ideal text which is sometimes obscured by one or ...
... course , not only getting into deep theoretical water but swallowing the eclectic bait floating just under its surface . For example , just like those eclectic editors , who assume an ideal text which is sometimes obscured by one or ...
Página 24
... course of a scene . The Editorial Tradition Previous editors of Hamlet in the Arden Shakespeare series express their doubts about the traditional division between acts 3 and 4. Edward Dowden , whose edition actually inaugurated the ...
... course of a scene . The Editorial Tradition Previous editors of Hamlet in the Arden Shakespeare series express their doubts about the traditional division between acts 3 and 4. Edward Dowden , whose edition actually inaugurated the ...
Página 27
... course the texts differ : in Q2 the traditional 4.4 seems to follow soon after 4.3 since Hamlet has not yet left Denmark , while in F the very brief appearance of Fortinbras could take place either soon after the events of 4.3 or ...
... course the texts differ : in Q2 the traditional 4.4 seems to follow soon after 4.3 since Hamlet has not yet left Denmark , while in F the very brief appearance of Fortinbras could take place either soon after the events of 4.3 or ...
Página 28
... course referring to the 1676 quarto , which claims to give the play " As it is now Acted at his Highness the Duke of York's Theatre . " This quarto contains the cast list for Betterton's Hamlet and indicates cuts made in his version ...
... course referring to the 1676 quarto , which claims to give the play " As it is now Acted at his Highness the Duke of York's Theatre . " This quarto contains the cast list for Betterton's Hamlet and indicates cuts made in his version ...
Página 29
... course clear in all three texts that Hamlet leaves the stage before the Queen ( if she leaves it at all ) , but the editors ' attempts to tidy up this moment by providing an exit for her have perhaps created the possibility of another ...
... course clear in all three texts that Hamlet leaves the stage before the Queen ( if she leaves it at all ) , but the editors ' attempts to tidy up this moment by providing an exit for her have perhaps created the possibility of another ...
Contenido
19 | |
33 | |
42 | |
Hamlets Stage Directions to the Players | 47 |
Explicit Stage Directions Especially Graphics in Hamlet | 74 |
The Case against Tidiness | 92 |
Tis heere Tis gone The Ghost in the Text | 101 |
To Soliloquize or Not to Soliloquize Hamlets To be Speech in Q1 and Q2F | 115 |
The Stage Directions Overt and Covert of Hamlet 51 | 140 |
Interpolations Extended Scenes and Musical Accompaniment in Kenneth Branaghs Hamlet | 161 |
Properties and Stage Business in Hamlet 34 | 170 |
Visual Representations of the Graveyard Scene in Hamlet | 189 |
Hamlet Yorick and the Chopless Stage Direction | 214 |
Afterword | 226 |
Contributors | 228 |
Index | 231 |
Otras ediciones - Ver todas
Términos y frases comunes
Aasand action actors appearance Arden audience Branagh Cambridge Capell characters Charles Fechter Chicago Shakespeare Theater Claudius Claudius's closet scene Clown commas contemporary Corambis critical Delacroix director dramatic early exits early texts edition editors effect Elizabethan engraving entrance essays father film Folger Shakespeare Library Folio Fortinbras Gertrude Gertrude's gesture Ghost grave Gravedigger graveyard scene groundlings Hamlet hand holding Yorick's skull Horatio illustration imagine indicate interpretation interrupted Jenkins John John Dover Wilson Kenneth Branagh King King's Kliman Laertes later lithographs London Lord madness Marcellus miniatures modern noise Ophelia Osric Oxford performance photograph picture play players Polonius Polonius's production promptbook punctuation Queen question readers reading Renaissance role Rosencrantz and Guildenstern says Second Quarto soliloquy speak speech spies stage business stage directions stage practice suggests textual theater theatrical traditional University Press visual wall portraits William Shakespeare Wilson Wilson Barrett words York
Pasajes populares
Página 58 - And let those that play your clowns, speak no more than is set down for them : for there be of them, that will themselves laugh, to set on some quantity of barren spectators to laugh too ; though, in the mean time, some necessary question of the play be then to be considered: that's villainous; and . shows a most pitiful ambition in the fool that uses it.
Página 57 - ... accent of Christians nor the gait of Christian, pagan, nor man, have so strutted and bellowed that I have thought some of nature's journeymen had made men and not made them well, they imitated humanity so abominably.
Página 28 - To assume a pleasing shape; yea, and perhaps Out of my weakness and my melancholy, As he is very potent with such spirits, Abuses me to damn me. I'll have grounds More relative than this: the play's the thing Wherein I'll catch the conscience of the king.
Página 49 - Nor do not saw the air too much with your hand, thus ; but use all gently ; for in the very torrent, tempest, and, as I may say, whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness.
Página 49 - That he should weep for her? What would he do Had he the motive and the cue for passion That I have? He would drown the stage with tears, And cleave the general ear with horrid speech, Make mad the guilty and appal the free, Confound the ignorant, and amaze indeed The very faculties of eyes and ears.
Página 65 - I have kissed I know not how oft. Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning? quite chap-fallen? Now get you to my lady's chamber, and tell her, let her paint an inch thick, to this favour she must come ; make her laugh at that. Prithee, Horatio, tell me one thing. Hor. What's that, my lord? Ham. Dost thou think Alexander looked o' this fashion i
Página 53 - Prompted to my revenge by heaven and hell, Must, like a whore, unpack my heart with words, And fall a-cursing, like a very drab, A scullion!
Página 52 - To outface me with leaping in her grave? Be buried quick with her, and so will I. And, if thou prate of mountains, let them throw Millions of acres on us, till our ground, Singeing his pate against the burning zone, Make Ossa like a wart! Nay, and thou'lt mouth, I'll rant as well as thou.
Página 62 - tis too true; How smart a lash that speech doth give my conscience! The harlot's cheek, beautied with plastering art, Is not more ugly to the thing that helps it Than is my deed to my most painted word: O heavy burden!
Página 50 - I have taken note of it ; the age is grown so picked that the toe of the peasant comes so near the heel of the courtier, he galls his kibe.— How long hast thou been a grave-maker?