Shakespeare's Speaking PropertiesBucknell University Press, 1991 - 222 страница This book is the first attempt to discuss systematically the properties in Shakespeare's plays, and analyzes the properties that Shakespeare specifies either explicitly in stage directions or implicitly in speeches. Property lists for all of Shakespeare's plays and frequency tables for various categories of property are included. |
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... example , it discusses the good properties of bad ( and good ) texts by studying properties used in the his- tory plays . This analysis suggests that properties can offer insights about genre . ( Continued on back flap ) Shakespeare's ...
... example , it discusses the good properties of bad ( and good ) texts by studying properties used in the his- tory plays . This analysis suggests that properties can offer insights about genre . ( Continued on back flap ) Shakespeare's ...
Страница 16
... example , if an actor chooses to mime the use of an object , does that action without object mean that the property does not exist ? Presumably Yorick's skull is a property in Hamlet whether it is tangible or not ; if the actor wishes ...
... example , if an actor chooses to mime the use of an object , does that action without object mean that the property does not exist ? Presumably Yorick's skull is a property in Hamlet whether it is tangible or not ; if the actor wishes ...
Страница 17
... examples from Shakespeare's plays . One important aspect of a property is the way in which it functions . Properties do not operate in performance as they do in a nontheatrical context — they mean differently . An example is Dapper's ...
... examples from Shakespeare's plays . One important aspect of a property is the way in which it functions . Properties do not operate in performance as they do in a nontheatrical context — they mean differently . An example is Dapper's ...
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... example . A knife might connote passion or vio- lence when it appears onstage , but it will not function to injure anyone and may even be physically modified ( by blunting or a retractable blade ) so that it cannot cut . Its ordinary ...
... example . A knife might connote passion or vio- lence when it appears onstage , but it will not function to injure anyone and may even be physically modified ( by blunting or a retractable blade ) so that it cannot cut . Its ordinary ...
Страница 21
Достигли сте ограничење за преглед ове књиге.
Достигли сте ограничење за преглед ове књиге.
Садржај
9 | |
15 | |
The Good Properties of Bad Quartos | 35 |
Objects Comic and Comedic | 54 |
Spectacle Character Language | 79 |
This Chapter about Spectacle Is Not about Spectacle | 88 |
Object as Actor Caps Crowns and Characters | 121 |
Actor as Object The Petrified Woman | 142 |
Property Lists for Shakespeares Plays | 157 |
Property Categories and Frequency | 195 |
Notes | 198 |
Bibliography | 209 |
Index | 215 |
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Чести термини и фразе
action actor Antony armor audience audience's Bad Quartos banquet scene becomes Caesar casket character character's Cleopatra Cloten's colors comic Coriolanus corpse costume critics crown death Desdemona discussion dramatic effigy erty example Falstaff's feast flesh-stone metaphor FOLIO QUARTO A-S-L folio text function guests Guiderius Hamlet handkerchief head headgear Henry Henry IV Henry VI Hermione history plays imagery Juliet KIND FOLIO QUARTO king King Lear laughter Lear letter lines Love's Labor's Lost Macbeth masque meaning metonymic nature object occur offstage onstage Osric Othello performance play's playwright Portia's QUARTO A-S-L PROPERTY quarto and folio quarto text Renaissance Richard Richard III ring role Shakespeare's Shakespeare's comedies Shakespeare's plays signal skull social specifies spectacle spectacular scenes speech stage direction statue stone suggest supernatural sword symbolic tetralogy textual theatrical Timon of Athens tion Titus Andronicus tokens of identity torches tragedies Twelfth Night understand verbal violence visual weapons wear
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Страница 24 - Here hung those lips that 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?
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Страница 83 - Put out the light, and then put out the light. If I quench thee, thou flaming minister, I can again thy former light restore, Should I repent me; but once put out thy light, Thou cunning'st pattern of excelling nature, I know not where is that Promethean heat That can thy light relume.
Страница 80 - O, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night Like a rich jewel in an Ethiop's ear; Beauty too rich for use, for earth too dear!
Страница 125 - And, since the quarrel Will bear no colour for the thing he is, Fashion it thus; that what he is, augmented, Would run to these, and these extremities: And therefore think him as a serpent's egg, Which, hatch'd, would, as his kind, grow mischievous; And kill him in the shell.
Страница 33 - When that this body did contain a spirit, A kingdom for it was too small a bound; But now two paces of the vilest earth Is room enough: this earth, that bears thee dead, Bears not alive so stout a gentleman.
Страница 125 - It must be by his death : and, for my part, I know no personal cause to spurn at him, But for the general. He would be crown'd : — How that might change his nature, there's the question : It is the bright day that brings forth the adder ; And that craves wary walking.
Страница 24 - 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
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