The Masks of HamletUniversity of Delaware Press, 1992 - 971 ページ 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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action actor appearance arms asks audience become begins believe bitter body Booth break called carried character Claudius close comes court dangerous death deep directed effect emotional entered evidently eyes face father fear feel felt final follow force friends Gertrude Gertrude's gesture Ghost Gielgud give Hamlet hand head hear heard heart held hold Horatio imagined intense kill kind King Laertes later leave look mean mind moment mother moved murder nature never objective observed once Ophelia passion perhaps physical play Player Polonius Prince Queen question reflected revenge rising role scene seems seen sense sexual Shakespeare shock soliloquy sometimes soul sound speak speech spoke stage suddenly suggests sweet sword tears tell tenderness theatre thing thought touch tried trying turned usually voice whole young