Shakespearean CriticismRalph Berry, Graham Bradshaw, William C. Carroll Cengage Gale, 1999 - 420 страница Presents literary criticism on the plays and poetry of Shakespeare. Critical essays are selected from leading sources, including journals, magazines, books, reviews, diaries, newspapers, pamphlets, and scholarly papers. Includes commentary by Shakespeare's contemporaries as well as a full range of views from later centuries, with an emphasis on contemporary analysis. Includes aesthetic criticism, textual criticism, and criticism of Shakespeare in performance. |
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Страница 30
... audience as well as the actor have a vital role . Or , as I tell my own actors , to be onstage speaking lines with no audience in the house is to be in rehearsal only , not in a production . Their presence validates ours ; the ...
... audience as well as the actor have a vital role . Or , as I tell my own actors , to be onstage speaking lines with no audience in the house is to be in rehearsal only , not in a production . Their presence validates ours ; the ...
Страница 100
... audience they engage is a fiction , a vir- tual audience constituted by the direction and express motivation of address and thus pre - existing any actual audience . This holds true for minor as well as major characters for clowns and ...
... audience they engage is a fiction , a vir- tual audience constituted by the direction and express motivation of address and thus pre - existing any actual audience . This holds true for minor as well as major characters for clowns and ...
Страница 101
... audience . But the premise that actor and character address the same audience is a theoretical solecism . It may not make much prac- tical difference in the case of the Vice and Clown , but its impact on the response to principal ...
... audience . But the premise that actor and character address the same audience is a theoretical solecism . It may not make much prac- tical difference in the case of the Vice and Clown , but its impact on the response to principal ...
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Representation and Reformation in Measure for Measure | 14 |
Sidney Homann What Do I Do Now? Directing A Midsummer Nights Dream | 23 |
Lisa Hopkins Marriage as Comic Closure | 32 |
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actor Antony argues audience authority Bastard becomes Benedick body Caesar Chalmers character Christian claims Clarissa Cleopatra comedy comic complaint conventional Cordelia Coriolanus critics cultural death desire drama early modern edition Elizabeth Elizabethan England English erotic essay fact Falstaff father female figure Ganymede gender Hamlet Henry Henry VI Hippolyta homosexual identity Irving's Jessica Jewish Jews Joan John King King Lear language Lear Leontes lines London Lord lover Lover's Complaint Lucrece Macbeth magic male Margaret Marranos marriage Measure for Measure ment Merchant of Venice moral Oldcastle Ophelia performance Pericles Petrarchan play's poems poet political Polixenes Prince Protestant Queen reading reference reformation relationship Renaissance representation role scene seems sense sexual Shake Shakespeare Shylock social sodomy sonnet 20 sonnets speare's speech stage suggests theater theatrical thee Theseus thou tion Titus Andronicus tragedy University Press Winter's Tale woman women words York