HamletPenguin UK, 7. 4. 2005. - 400 страница 'The Mona Lisa of literature' T. S. Eliot |
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... Politics – Queer Reading and Out on Stage: Lesbian and Gay Theatre in the Twentieth Century. PAUL PRESCOTT is Reader in English at the University of Warwick. General Introduction Every play by Shakespeare is unique. This is.
... Politics – Queer Reading and Out on Stage: Lesbian and Gay Theatre in the Twentieth Century. PAUL PRESCOTT is Reader in English at the University of Warwick. General Introduction Every play by Shakespeare is unique. This is.
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... stage surmounted by a canopy and jutting into the area where spectators who paid one penny stood, and surrounded by galleries where it was possible to be seated on payment of an additional penny. Though properties such as cauldrons ...
... stage surmounted by a canopy and jutting into the area where spectators who paid one penny stood, and surrounded by galleries where it was possible to be seated on payment of an additional penny. Though properties such as cauldrons ...
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... stage only by a manifest villain. But as members of an audience try to make sense of events in the play and Hamlet's responses to them, it may appear that the divine system revealed in the action is not as comfortable and delightful as ...
... stage only by a manifest villain. But as members of an audience try to make sense of events in the play and Hamlet's responses to them, it may appear that the divine system revealed in the action is not as comfortable and delightful as ...
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... stage directions. Of course, in performance the question has to be settled; the actor and director will decide. But the significant point is that Shakespeare wasn't sufficiently interested in the Queen to write any more dialogue for her ...
... stage directions. Of course, in performance the question has to be settled; the actor and director will decide. But the significant point is that Shakespeare wasn't sufficiently interested in the Queen to write any more dialogue for her ...
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... stage directions at V.2.275 and V.2.343) may seem to be part of the King's carousing, but they turn out to be the commotion of an invasion. This is not the only way to read the scene, but it does develop an emphasis that is in the text ...
... stage directions at V.2.275 and V.2.343) may seem to be part of the King's carousing, but they turn out to be the commotion of an invasion. This is not the only way to read the scene, but it does develop an emphasis that is in the text ...
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action actor audience BARNARDO behaviour blood character Christian Claudius Claudius’s Danish dead dear Denmark doth e’en Elizabethan England Enter Hamlet Enter the King Exeunt Exit eyes F reads father fear Fortinbras friends gentleman Gertrude Ghost give God’s hast hath hear heart heaven honour in’t is’t Jephthah judgement Julius Caesar killed King and Queen King Claudius King Hamlet King of Denmark King’s Laertes Laertes’s look madness MARCELLUS marriage means misogyny mother murder nature night Norway o’er Ophelia OSRICK Paul Prescott performance perhaps phrase play play’s PLAYER poison Pollax Polonius Polonius’s pray Presumably Prince Prince Hamlet probably Pyrrhus Q2 and F Q2 reads Quarto rapiers revenge REYNALDO Richard II Rosencrantz and Guildenstern scene SECOND CLOWN seems sense Shakespeare soliloquy soul speak speech sweet sword tell theatre thee There’s thou thoughts tragedy Trumpets Voltemand what’s word