Shakespeare's SoliloquiesRoutledge, 15.04.2013 г. - 224 страници First published in 1987. |
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Страница 5
... gestures , physiognomy and stage business . To quote J.R. Brown : ' the actors did not address the audience as if it were in another world . There was a reciprocal relationship ; the audience could participate in the drama as easily as ...
... gestures , physiognomy and stage business . To quote J.R. Brown : ' the actors did not address the audience as if it were in another world . There was a reciprocal relationship ; the audience could participate in the drama as easily as ...
Страница 11
... gestures and move- ments by the actors . An attentive reader will be surprised to see how many hints and directions for the actor are contained in the text of a Shakespeare soliloquy . All these observations merge ultimately in the pre ...
... gestures and move- ments by the actors . An attentive reader will be surprised to see how many hints and directions for the actor are contained in the text of a Shakespeare soliloquy . All these observations merge ultimately in the pre ...
Страница 19
... gesture , movement and facial expression . * RICHARD AWAKES FROM HIS NIGHTMARE - HIS LAST SOLILOQUY V.iii . 178-207 Richard starteth up out of a dream . K. Rich . Give me another horse ! Bind up my wounds ! Have mercy , Jesu ! -Soft , I ...
... gesture , movement and facial expression . * RICHARD AWAKES FROM HIS NIGHTMARE - HIS LAST SOLILOQUY V.iii . 178-207 Richard starteth up out of a dream . K. Rich . Give me another horse ! Bind up my wounds ! Have mercy , Jesu ! -Soft , I ...
Страница 22
... portrait painted in England " . Hogarth concentrated on Garrick's realistic horror as he clutches his sword in one hand - a gesture -- which was turned into elaborate stage business by later actors 22 Shakespeare's soliloquies.
... portrait painted in England " . Hogarth concentrated on Garrick's realistic horror as he clutches his sword in one hand - a gesture -- which was turned into elaborate stage business by later actors 22 Shakespeare's soliloquies.
Страница 28
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Съдържание
13 | |
19 | |
KING JOHN | 29 |
Falstaffs reflections on honour V i 12541 | 38 |
TWO GENTLEMEN OF VERONA | 45 |
TWELFTH NIGHT | 51 |
ALLS WELL THAT ENDS WELL | 60 |
CYMBELINE | 72 |
35 | 100 |
OTHELLO | 163 |
KING LEAR | 171 |
CONCLUSION | 179 |
NOTES | 193 |
91 | 195 |
109 | 202 |
SELECT BIBLIOGRAPHY | 210 |
Други издания - Преглед на всички
Често срещани думи и фрази
abstract action actor already Angelo apostrophe appearance audience audience's awareness becomes beginning Bertram Brutus character close comedy comic concrete contrast convey Cymbeline dagger death Desdemona dialogue dramatic dramatists earlier effect Elizabethan emotions epithalamium expression eyes Falstaff father feelings figure final soliloquy follow further Gentlemen of Verona gestures give Hamlet hath Helena honour human Iachimo II.ii images imagination Imogen impression inner Isabella Julius Caesar King Lear Lady Macbeth language last soliloquy Launce Lear's lines look loquy lovers magic Malvolio mind monologue murder nature night observation opening Othello particular passage plot pre-Shakespearean preceding scenes presented Prospero questions reflection reveal rhetorical Richard Richard III role Romeo and Juliet sense sentence Shakespeare Shakespeare's plays Shakespeare's soliloquies situation sleep soli soliloquizing speeches speaker speaks spoken style thee thou thoughts tragedies tragic Twelfth Night Tybalt utterances vision whole words