Julius CaesarPenguin, 01.12.2000 - 304 Seiten The Signet Classics edition of Shakespeare's timeless tragedy of conspiracy and betrayal. In the first of his Roman history plays, the Bard tells the story of the murder of emperor Julius Caesar and the gruesome aftermath as ancient Rome descends into a violent mob. This title in the Signet Classics Shakespeare series includes: • An overview of Shakespeare's life, world, and theater • A special introduction to the play by the editors, William and Barbara Rosen • Selections from Plutarch's Lives of Noble Grecians and Romans, the source from which Shakespeare derived Julius Caesar • Dramatic criticism from Roy Walker, Maynard Mack, Richard David, and others • A comprehensive stage and screen history of notable actors, directors, and productions of Julius Caesar • Text, notes, and commentaries printed in the clearest, most readable format • Recommended readings |
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William Shakespeare William Rosen, Barbara Rosen. THE PELICAN SHAKESPEARE GENERAL EDITORS STEPHEN ORGEL A. R. BRAUNMULLER The Tragedy of Julius Caesar The Irish actor Thomas Sheridan (father of the playwright Richard.
William Shakespeare William Rosen, Barbara Rosen. THE PELICAN SHAKESPEARE GENERAL EDITORS STEPHEN ORGEL A. R. BRAUNMULLER The Tragedy of Julius Caesar The Irish actor Thomas Sheridan (father of the playwright Richard.
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William Shakespeare William Rosen, Barbara Rosen. The Irish actor Thomas Sheridan (father of the playwright Richard Brinsley Sheridan) in his most famous role as Brutus, first performed at Covent Garden in 1744. His manner was cool ...
William Shakespeare William Rosen, Barbara Rosen. The Irish actor Thomas Sheridan (father of the playwright Richard Brinsley Sheridan) in his most famous role as Brutus, first performed at Covent Garden in 1744. His manner was cool ...
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... actors, moreover, were considered little better than vagabonds, constantly in danger of arrest or expulsion. In the late 1560s and 1570s, however, English professional theater began to gain respectability. Wealthy aristocrats fond of ...
... actors, moreover, were considered little better than vagabonds, constantly in danger of arrest or expulsion. In the late 1560s and 1570s, however, English professional theater began to gain respectability. Wealthy aristocrats fond of ...
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... acting area, and tragedies were accompanied by black hangings, presumably something like crepe festoons or bunting. Although these theaters did not employ what we would call scenery, early modern spectators saw numerous large props ...
... acting area, and tragedies were accompanied by black hangings, presumably something like crepe festoons or bunting. Although these theaters did not employ what we would call scenery, early modern spectators saw numerous large props ...
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... actors playing gods, goddesses, and other supernatural figures to and from the main acting area, just as one or more trap-doors permitted entrances and exits to and from the area, called “hell,” beneath the stage. Actors wore elementary ...
... actors playing gods, goddesses, and other supernatural figures to and from the main acting area, just as one or more trap-doors permitted entrances and exits to and from the area, called “hell,” beneath the stage. Actors wore elementary ...
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actors answer appear army battle bear better blood body Brutus Calpurnia Capitol CASCA CASSIUS cause Cinna comes common conspirators crown dangerous death Decius doth early enemy English Enter Exeunt Exit eyes face fall fear fire folio follow FOURTH PLEBEIAN give gods hand hath hear heart hold honor humor Julius Caesar leave Ligarius live London look lord Lucillius Lucius March Mark Antony matter mean meet Messala mind moved nature never night noble Octavius once Peace performed Pindarus play playwright PLEBEIAN poet PORTIA present reason rest Roman Rome Senate SERVANT Shakespeare sick SOLDIER speak speech spirit stage stand stay streets sword tell texts theater thee things THIRD thou Titinius true turn wrong