Julius CaesarPenguin UK, 07.04.2005 - 272 Seiten 'Cry havoc and let slip the dogs of war, |
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... , more or less circular structures, open to the air, with a thrust stage surmounted by a canopy and jutting into the area where spectators who paid one penny stood, and surrounded by galleries where it was possible to be seated on.
... stage. Above it was a balconied area that could represent the walls of a town (as in King John), or a castle (as in Richard II), and indeed a balcony (as in Romeo and Juliet). In 1609 the company also acquired the use of the Blackfriars ...
... stage and begun to harangue the 'idle creatures' who are wasting their time with something so trivial as a play. As the scene develops it becomes clear, as most playgoers must always really have known, that Flavius is a tribune from ...
... stage has given little overt attention to politics as such: the scene is much more about personalities than about the business of government. In that respect we don't have the information to make the judgement that we seem to be ...
... stage as they are perceived by Cassius. Our grasp of the incipient political conict becomes more secure. And then the subject of anti-theatricalism comes up again, when Caesar remarks on Cassius' philistine attitudes: 'He loves no plays ...