Understanding Shakespeare's Plays in PerformanceManchester University Press, 1988 - 100 σελίδες Every year, hundreds of thousands of people buy tickets to see Shakespeare's plays performed. No other playwright commands the kind of interest that Shakespeare does. |
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Σελίδα 8
... words , by cutting the text here and elsewhere , Miller had changed the play ; some would say he had changed its essential nature . Was the play any longer Shakespeare's ? Had Miller adapted it so radically by cut- ting the text that he ...
... words , by cutting the text here and elsewhere , Miller had changed the play ; some would say he had changed its essential nature . Was the play any longer Shakespeare's ? Had Miller adapted it so radically by cut- ting the text that he ...
Σελίδα 15
... text , the Q2 version ? Gilder's running com- mentary on the action ignores the cut and , indeed , one has to remember the full text to notice that the lines are gone . Perhaps in an edition as full of apparatus as Gilder's , a full text ...
... text , the Q2 version ? Gilder's running com- mentary on the action ignores the cut and , indeed , one has to remember the full text to notice that the lines are gone . Perhaps in an edition as full of apparatus as Gilder's , a full text ...
Σελίδα 17
... Shakespeare's text were replaced by ' dignified dumb shows of grief . But , as Brown says , these could not compensate for the ' socially responsi- ble particularity ' of Shakespeare's lines . Similarly , mainly through heavy deletions of ...
... Shakespeare's text were replaced by ' dignified dumb shows of grief . But , as Brown says , these could not compensate for the ' socially responsi- ble particularity ' of Shakespeare's lines . Similarly , mainly through heavy deletions of ...
Περιεχόμενα
FINDING THE TEXT | 7 |
FINDING THE SET DESIGN | 20 |
MUSIC AND OTHER EFFECTS | 62 |
Πνευματικά δικαιώματα | |
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Συχνά εμφανιζόμενοι όροι και φράσεις
action actors actress Adrian Noble alterations ambiguity Ariel aspects audience become Brook Cambridge chapter coherence comedy complex Cordelia Coriolanus costumes David Suchet dialogue director discussion dramatic editions effect Elizabethan emphasize essential example experience Falstaff feelings film Finding the Subtext finding the text Fool Grigori Kozintsev Guthrie Hamlet Henry Hippolyta Ibid III.i imagery imagination Isabella John Barton John Russell Brown Kathleen Widdoes kind King Lear Kozintsev Lear's lines mance means Measure for Measure Michael modern Olivier original overall interpretation Patrick Stewart peare perhaps Playing Shakespeare plays in performance political Prospero question Ralph Berry rehearsals Richard role Romeo and Juliet Royal Shakespeare Company RSC production says scene script set design Shakes Shakespeare London Shakespeare's plays Shakespeare's text Shylock sometimes speech stage business stage directions Stanislavski Stratford Stratford-upon-Avon Suchet television theatregoers theatrical tion tragedy transposition Troilus and Cressida University Press words