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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55 ページ
... later in date . In MORE and JOHN A KENT , the authors ' directions are fairly full , but the prompter has made only in- significant marginal notations . The SECOND MAID'S TRAGEDY , in 1611 , carries brief specifications for props and ...
... later in date . In MORE and JOHN A KENT , the authors ' directions are fairly full , but the prompter has made only in- significant marginal notations . The SECOND MAID'S TRAGEDY , in 1611 , carries brief specifications for props and ...
87 ページ
... Later he develops a diaphragm which is the despair of his tailors and finally makes of his voice the flexible and resonant instrument which Shakespeare's verse and prose absolutely demand . He still cannot , unfortunately , re - create ...
... Later he develops a diaphragm which is the despair of his tailors and finally makes of his voice the flexible and resonant instrument which Shakespeare's verse and prose absolutely demand . He still cannot , unfortunately , re - create ...
187 ページ
... later plays , but more independent and set in quite different surroundings . They will never quite recur ; and Shakespeare takes pleasure in them from the beginning and treats them to a brilliant duologue scene together . So far he is ...
... later plays , but more independent and set in quite different surroundings . They will never quite recur ; and Shakespeare takes pleasure in them from the beginning and treats them to a brilliant duologue scene together . So far he is ...
目次
Introduction BY JOHN MASON BROWN | 7 |
FIRST PERSON SINGULAR | 15 |
INTRODUCING AN ENGLISHMAN | 31 |
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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