The Masks of HamletUniversity of Delaware Press, 1992 - 971 oldal In this work, Rosenberg insists again and again that only the individual reader or actor can determine Shakespeare's design of Hamlet's character -- and of the play. To interpret Hamlet's words and actions at the many crises, the reader needs to double in the role of actor, imagining the character from the inside and observing from the outside. Winner of the Theatre Library Association Award for 1993. |
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1 - 5 találat összesen 92 találatból.
ii. oldal
... actor can de- termine Shakespeare's design of Hamlet's char- acter - and of the play . More , the reader , to in- terpret Hamlet's words and actions at the many crises , needs to double in the role of actor , imag- ining the character ...
... actor can de- termine Shakespeare's design of Hamlet's char- acter - and of the play . More , the reader , to in- terpret Hamlet's words and actions at the many crises , needs to double in the role of actor , imag- ining the character ...
x. oldal
... actor acting one . ( Surely you will discover further dialectics . ) Then surround this model of asymmetry with other characters similarly - though to a lesser degree — made of equally contradictory material . Can any concept help us ...
... actor acting one . ( Surely you will discover further dialectics . ) Then surround this model of asymmetry with other characters similarly - though to a lesser degree — made of equally contradictory material . Can any concept help us ...
xi. oldal
... actor - readers are not limited by what they recognize as their " normal " polyphonies , if they accept old Terence's insistence : " Nothing human is alien to me . " Actors often stretch themselves to enter and inhabit the most unlikely ...
... actor - readers are not limited by what they recognize as their " normal " polyphonies , if they accept old Terence's insistence : " Nothing human is alien to me . " Actors often stretch themselves to enter and inhabit the most unlikely ...
xii. oldal
... actor - reader fleshes out the roles , actually or imaginatively , partly by experiencing the surface sym- bols ... actor - reader's intuitions will direct you to the unique vision you will inhabit — perhaps one never imagined or acted ...
... actor - reader fleshes out the roles , actually or imaginatively , partly by experiencing the surface sym- bols ... actor - reader's intuitions will direct you to the unique vision you will inhabit — perhaps one never imagined or acted ...
xiv. oldal
... actors confirm what scholars have long since learned in their study : each such rehearsal opens new depths , plumbs covert ... actor - readers rehearse the passions of the characters , we further discover and exercise our own subtextual ...
... actors confirm what scholars have long since learned in their study : each such rehearsal opens new depths , plumbs covert ... actor - readers rehearse the passions of the characters , we further discover and exercise our own subtextual ...
Tartalomjegyzék
ix | |
xvii | |
1 | |
12 | |
18 | |
25 | |
Act I Scene ii Part 1 | 36 |
Generalization Ahead | 45 |
Act III Scene i Part 2 | 463 |
Act III Scene i Part 3 | 473 |
Act III Scene i Part 4 | 484 |
Act III Scene i Part 5 | 497 |
Act III Scene i Part 6 | 508 |
Act III Scene ii Part 1 | 548 |
Act III Scene ii Part 2 | 553 |
Act III Scene ii Part 3 | 560 |
Claudius | 47 |
Gertrude | 70 |
Act I Scene ii Part 2 | 82 |
Hamlet Part 1 | 92 |
Hamlet Part 2 | 118 |
Hamlet Part 3 | 155 |
Hamlet Part 4 | 167 |
Act I Scene ii Part 3 | 186 |
Act I Scene ii Part 4 | 204 |
Act I Scene ii Part 5 | 221 |
Ophelia | 236 |
Laertes | 253 |
Polonius | 257 |
Act I Scene iii | 265 |
Act I Scene iv | 281 |
Act I Scene v Part 1 | 310 |
Act I Scene v Part 2 | 328 |
Act I Scene v Part 3 | 340 |
Act II Scene i | 357 |
Act II Scene ii Part 1 | 368 |
Act II Scene ii Part 2 | 375 |
Act II Scene ii Part 3 | 386 |
Act II Scene ii Part 4 | 403 |
Act II Scene ii Part 5 | 415 |
Act II Scene ii Part 6 | 438 |
Act III Scene i Part 1 | 455 |
Act III Scene ii Part 4 | 572 |
Act III Scene ii Part 5 | 577 |
Act III Scene ii Part 6 | 594 |
Act III Scene iii | 622 |
Act III Scene iv Part 1 | 641 |
Act III Scene iv Part 2 | 673 |
Act III Scene iv Part 3 | 686 |
Act IV Scene i | 722 |
Act IV Scene ii | 729 |
Act IV Scene iii | 732 |
Act IV Scene iv | 745 |
Act IV Scene v Part 1 | 757 |
Act IV Scene v Part 2 | 776 |
Act IV Scene v Part 3 | 789 |
Act IV Scene v Part 4 | 797 |
Act IV Scene vi | 810 |
Act IV Scene vii | 812 |
Act V Scene i Part 1 | 825 |
Act V Scene i Part 2 | 845 |
Act V Scene ii Part 1 | 859 |
Act V Scene ii Part 2 | 875 |
Act V Scene ii Part 3 | 905 |
Act V Scene ii Part 4 | 911 |
Bibliography | 927 |
Index | 955 |
Más kiadások - Összes megtekintése
Gyakori szavak és kifejezések
action actor actor-reader Alan Howard antic arms arras asks audience begins Booth Burton character Charles Kean Claudius court courtiers dangerous death Denmark Dover Wilson emotional eyes face father fear Fechter feel felt fierce Fortinbras Frances Barber G. B. Shaw Gertrude Gertrude's gesture Ghost Gielgud grief Hamlet plays hand head Horatio impulse Irving Jacobi Kachalov Kainz Kean Kemble kill kind King King's kiss Laertes later laugh lonius look Marcellus mask McKellen's mind mother Mousetrap moved murder mystery observed Olivier Ophelia passion pause perhaps physical play Player Polonius polyphony power Hamlet Prince Queen revenge role Rosencrantz and Guildenstern scene seems seen sense sexual Shakespeare shock soliloquy sometimes soul sound speak speech spies spoke stage subtext suddenly suggests sweet Hamlet sword tears tenderness theatre thought tone touch tried trying turned usually violence voice whisper Wittenberg words young
Népszerű szakaszok
33. oldal - And then it started, like a guilty thing Upon a fearful summons. I have heard The cock, that is the trumpet to the morn, Doth with his lofty and shrill-sounding throat Awake the god of day; and at his warning. Whether in sea or fire, in earth or air, The extravagant and erring spirit hies To his confine; and of the truth herein This present object made probation.
12. oldal - Whose blood and judgment are so well commingled That they are not a pipe for fortune's finger To sound what stop she please. Give me that man That is not passion's slave, and I will wear him In my heart's core, ay, in my heart of heart, As I do thee.