The Adventures of a Shakespeare Scholar: To Discover Shakespeare's Art, Том 10University of Delaware Press, 1997 - 365 страници Rarely does a scholar single-handedly point Shakespeare study in a new direction. But in the 1950s, when brilliant insights were being achieved in Shakespeare's language, and a few theatre historians were recording stagings and stage business, Marvin Rosenberg led the way to a wider perspective of the poet-playwright's genius. He insisted that Shakespeare's art fused poetry-of-the-word with poetry-of-the-theatre, each illuminating the other inseparably. |
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Страница 18
... patterns , ideas . On the page the words are silent ; I , like you , said them aloud , over and over ; when I began to fall in love with my own voice , to get a perspective I began the habit of sitting in on rehearsals as well as ...
... patterns , ideas . On the page the words are silent ; I , like you , said them aloud , over and over ; when I began to fall in love with my own voice , to get a perspective I began the habit of sitting in on rehearsals as well as ...
Страница 23
... patterns in company with his words ; that his groupings and dispersal of characters , and the gestures implicit in their lines , reflect a dramatic genius that parallels and illuminates his marvelous poetic one . " Suit the action to ...
... patterns in company with his words ; that his groupings and dispersal of characters , and the gestures implicit in their lines , reflect a dramatic genius that parallels and illuminates his marvelous poetic one . " Suit the action to ...
Страница 24
... patterns . Knowing this , we can strive for as much " objectivity " as is possible to us , and try to correct for our prejudices and myopias ( see Chapter 30 , " The Mind of the Critic " ) . Third , to recognize the dynamic development ...
... patterns . Knowing this , we can strive for as much " objectivity " as is possible to us , and try to correct for our prejudices and myopias ( see Chapter 30 , " The Mind of the Critic " ) . Third , to recognize the dynamic development ...
Страница 51
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Страница 61
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action actors aesthetic ambiguity Angelo arousal artistic asked audience Banquo Cassio character characterization child Claudius colleagues comedy complex contextual Cordelia critics David Garrick death Desdemona drama Duke Edgar eighteenth century Elizabethan emotional essay experience eyes fantasy father feel Fool Garrick Gertrude gestures Gloster Hall hero human Iago Iago's imagery imagine impulses Isabella Kemble kill kind King Lear Lady Macbeth Laertes language Lear's learned linear lines look Masks Measure for Measure mind Modern Language Association motivation moved murder Ophelia Othello passion patterns performance perhaps personality play play's playwright poetry Polonius polyphony power Hamlet rehearsals response role Salvini scene scholars Scofield seems sense sexual Shake Shakespeare Conference shock soliloquy sometimes sound speak speare's spectators speech stage Stratford subtext suggest sweet Hamlet symbolic theater thing thou thought tion tragedy tragic tragic heroes verbal videotape visual voice words
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Страница 290 - I have heard That guilty creatures, sitting at a play, Have by the very cunning of the scene Been struck so to the soul that presently They have proclaim'd their malefactions; For murder, though it have no tongue, will speak With most miraculous organ.
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