Shakespeare and the Modern Stage: With Other EssaysConstable, 1906 - 251 Seiten |
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Seite 13
... realise fully the precise demands which a system like that of Phelps makes , when rightly interpreted , on the character , ability , and energy of the actors and actresses . If scenery in Shakespearean productions be relegated to its ...
... realise fully the precise demands which a system like that of Phelps makes , when rightly interpreted , on the character , ability , and energy of the actors and actresses . If scenery in Shakespearean productions be relegated to its ...
Seite 19
... his plays to be , in journalistic dialect , " magnificently staged , " and that he deplored the inability of his uncouth age to realise that wish . The lines are familiar ; but it is necessary to quote them at length , in fairness.
... his plays to be , in journalistic dialect , " magnificently staged , " and that he deplored the inability of his uncouth age to realise that wish . The lines are familiar ; but it is necessary to quote them at length , in fairness.
Seite 42
... realise how a boy or young man could adequately interpret most of Shakespeare's female characters . It seems almost sacrilegious to conceive the part of Cleo- patra , the most highly sensitised in its minutest details of all dramatic ...
... realise how a boy or young man could adequately interpret most of Shakespeare's female characters . It seems almost sacrilegious to conceive the part of Cleo- patra , the most highly sensitised in its minutest details of all dramatic ...
Seite 44
... realise the dramatic potency of the poet's work without any , or any but the slightest , adventitious aid outside the words of the play . The Elizabethan playgoer needs no pity . It is ourselves who are deserving objects of compassion ...
... realise the dramatic potency of the poet's work without any , or any but the slightest , adventitious aid outside the words of the play . The Elizabethan playgoer needs no pity . It is ourselves who are deserving objects of compassion ...
Seite 56
... , that future ages best realise the fact that the great man was in plain truth a living entity , and no mere shadow of a name . 1 1 ANTIQUITY OF SHAKESPEAREAN TRADITION 57 III When Shakespeare died , 56 SHAKESPEARE IN ORAL TRADITION.
... , that future ages best realise the fact that the great man was in plain truth a living entity , and no mere shadow of a name . 1 1 ANTIQUITY OF SHAKESPEAREAN TRADITION 57 III When Shakespeare died , 56 SHAKESPEARE IN ORAL TRADITION.
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acting actor actor-manager actor-manager system actors and actresses artistic audience Ben Jonson Benson's Betterton biography career character Charles comedy contemporary critical Cymbeline D'Avenant D'Avenant's death dramatic art dramatist Drury Lane Dryden Elizabethan Elizabethan playgoer endeavour England English experience French genius gossip Hamlet Henry histrionic honour imagination interests of dramatic Jonson Julius Cæsar King less literary drama literature London London County Council Lowin Macbeth manager memory ment methods Midsummer Night's Dream modern monument moral municipal theatre nation never Nicholas Rowe oral tradition Othello patriotic instinct Pepys's performance Phelps Phelps's philosophy piece playgoing playhouse plays of Shakespeare poet poet's poetic poetry present produced realise rendered reputation Richard II rôles scene scenery scenic sentiment seventeenth century Shake Shakespeare's plays Shakespearean drama speare speare's spearean spectacular speech stage Stratford Stratford-on-Avon Tempest theatrical enterprise tion tragedy Twelfth Night William Beeston William D'Avenant writing wrote