Shakespearean CriticismRalph Berry, Graham Bradshaw, William C. Carroll Cengage Gale, 1999 - 420 Seiten Presents literary criticism on the plays and poetry of Shakespeare. Critical essays are selected from leading sources, including journals, magazines, books, reviews, diaries, newspapers, pamphlets, and scholarly papers. Includes commentary by Shakespeare's contemporaries as well as a full range of views from later centuries, with an emphasis on contemporary analysis. Includes aesthetic criticism, textual criticism, and criticism of Shakespeare in performance. |
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Seite 27
... stage . Startled , the actor playing Theseus looked in her di- rection , and I promptly suggested that he deliver the next line to Hippolyta ( they were twenty - five feet apart ) : " Which by no means we may extenuate . " With the line ...
... stage . Startled , the actor playing Theseus looked in her di- rection , and I promptly suggested that he deliver the next line to Hippolyta ( they were twenty - five feet apart ) : " Which by no means we may extenuate . " With the line ...
Seite 29
... stage - left for his " If we offend , it is with our good will " ( 108 ) , stage - right would be darkened , allowing Hermia , Hel- ena , and Lysander to exit unseen , change into the costumes of Moonshine , Wall , and Thisby , and ...
... stage - left for his " If we offend , it is with our good will " ( 108 ) , stage - right would be darkened , allowing Hermia , Hel- ena , and Lysander to exit unseen , change into the costumes of Moonshine , Wall , and Thisby , and ...
Seite 33
... stage , or indeed within the timescale of the play at all . Rosalind and Celia are brought on to the stage by what the New Penguin editor terms ' a masquer representing Hymen ' . ' In the theatre this part is usually taken by the actor ...
... stage , or indeed within the timescale of the play at all . Rosalind and Celia are brought on to the stage by what the New Penguin editor terms ' a masquer representing Hymen ' . ' In the theatre this part is usually taken by the actor ...
Inhalt
Representation and Reformation in Measure for Measure | 1 |
Miscarried Narratives in Much | 14 |
Sidney Homann What Do I Do Now? Directing A Midsummer Nights Dream | 23 |
Urheberrecht | |
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