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. |
Részletek a könyvből
1 - 5 találat összesen 73 találatból.
xvii. oldal
... look . I would have liked to identify every one of the multitude of students of Hamlet I have consulted ; but I have had to compress : if I listed the literally thousands of critical works and reports on the play's staging ( as partly ...
... look . I would have liked to identify every one of the multitude of students of Hamlet I have consulted ; but I have had to compress : if I listed the literally thousands of critical works and reports on the play's staging ( as partly ...
4. oldal
... looks harder into the darkness where the intruder is sometimes not yet disclosed , or still in the shadows- and so we look too . Nay , answer me ! Stand ! ( Footsteps , if any , stop ) and unfold yourself ! ( “ The startled sentinel ...
... looks harder into the darkness where the intruder is sometimes not yet disclosed , or still in the shadows- and so we look too . Nay , answer me ! Stand ! ( Footsteps , if any , stop ) and unfold yourself ! ( “ The startled sentinel ...
8. oldal
... look around nervously before anything is said . A new formality charges the air with Marcellus ' longer blank verse . That Horatio says ' tis but our fantasy , And will not let belief take hold of him is , in the event , a shrewd ...
... look around nervously before anything is said . A new formality charges the air with Marcellus ' longer blank verse . That Horatio says ' tis but our fantasy , And will not let belief take hold of him is , in the event , a shrewd ...
13. oldal
... looks for Horatio's objective , can find it in this singleness of his friendship with his Prince , the readiness to ... look of an academic , as the other two of soldiers . He may wear a medallion , a miniature of the old king ; will ...
... looks for Horatio's objective , can find it in this singleness of his friendship with his Prince , the readiness to ... look of an academic , as the other two of soldiers . He may wear a medallion , a miniature of the old king ; will ...
27. oldal
... look anxiously after him — as we do— and half follow . Then they and we share the fear of his absence , the relief when he returns shaken and bewildered . Critical interpretation usually concentrates on why the Ghost leaves , what has ...
... look anxiously after him — as we do— and half follow . Then they and we share the fear of his absence , the relief when he returns shaken and bewildered . Critical interpretation usually concentrates on why the Ghost leaves , what has ...
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.