Shakespeare Without TearsWorld Publishing Company, 1955 - 318 ページ Chapters on general principles of Shakespeare production, notes on Elizabethan stages and actors, and comments on the problems of individual plays. |
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29 ページ
... audience is on a wholly different basis . How can we preserve Shakespeare's intention in our modern terms ? We may , we must , try honestly and devotedly to divine his meaning . We must know , for that purpose , the instruments of ...
... audience is on a wholly different basis . How can we preserve Shakespeare's intention in our modern terms ? We may , we must , try honestly and devotedly to divine his meaning . We must know , for that purpose , the instruments of ...
65 ページ
... audience than is possible from behind the frame of a proscenium stage . An actor could almost always touch the nearest of the spectators , whether from the project- ing " apron " platform at the Globe or from the cleared space of the ...
... audience than is possible from behind the frame of a proscenium stage . An actor could almost always touch the nearest of the spectators , whether from the project- ing " apron " platform at the Globe or from the cleared space of the ...
78 ページ
... audience was , as we have seen , taken into much closer partnership with both dramatist and actor than is its modern ... audience , these things had to be tangibly and visually accurate : hence the squirts full of red liquid for the ...
... audience was , as we have seen , taken into much closer partnership with both dramatist and actor than is its modern ... audience , these things had to be tangibly and visually accurate : hence the squirts full of red liquid for the ...
目次
Introduction BY JOHN MASON BROWN | 7 |
FIRST PERSON SINGULAR | 15 |
INTRODUCING AN ENGLISHMAN | 31 |
著作権 | |
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accept acting action actors actress Antony audience Beatrice Burbage Capulet characters Cleopatra clowns comedy Coriolanus CRESSIDA critics CYMBELINE death director dramatic dramatist E. K. Chambers ears Elizabethan emotion English eyes Falstaff fear feel Folio text follow fool give Globe Hamlet hand hath heart HENRY HENRY VI heroines Hotspur human Iago imagination interpretation KING LEAR Lady Macbeth lines living Lord Maurice Evans mind Miss Webster modern ness never night Old Vic Othello passion performance perhaps PERICLES phrase play's players plot printed problems production prompt copy prompter Quarto Queen Richard RICHARD II ROMEO AND JULIET scholars script seems sense Shake Shakespeare Shylock soliloquy speak speare speare's speech spirit stage directions stars sweet TEMPEST theater theatrical things thou thought TIMON tion tragedy TROILUS TROILUS AND CRESSIDA TWELFTH NIGHT verse words writing written wrote