Prefaces to Shakespeare: Introduction. Love's labour's lost. Julius Caesar. King LearSidgwick & Jackson, 1946 |
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Seite 26
... leave them as inexpressive as they might be in real life - that will allow the actor too much initiative . Actors who are in themselves interesting , lively and resourceful can make a passingly brilliant effect with such material . But ...
... leave them as inexpressive as they might be in real life - that will allow the actor too much initiative . Actors who are in themselves interesting , lively and resourceful can make a passingly brilliant effect with such material . But ...
Seite 146
... leaves , what is't to leave betimes ? Let be . It is to no more than this , at the last , that the subtly questing mind has come.23 As the curtains of the inner stage part , the disquieted Horatio is silenced by a gesture ; and there ...
... leaves , what is't to leave betimes ? Let be . It is to no more than this , at the last , that the subtly questing mind has come.23 As the curtains of the inner stage part , the disquieted Horatio is silenced by a gesture ; and there ...
Seite 292
... leave him here ! Those who like their drama rounded and trim might approve of such a finish , which would leave us a play more compassable in performance no doubt . But the wind of a harsher doctrine is 13 There are practical reasons ...
... leave him here ! Those who like their drama rounded and trim might approve of such a finish , which would leave us a play more compassable in performance no doubt . But the wind of a harsher doctrine is 13 There are practical reasons ...
Inhalt
THE STUDY AND THE STAGE I | 1 |
THE CONVENTION OF PLACE | 8 |
THE BOYACTRESS | 14 |
Urheberrecht | |
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action actor answer Antony Antony and Cleopatra Antony's audience Bassanio beginning Belarius better Cæsar character Charmian Claudius Cleopatra Cloten comes contrast Cordelia Court Cymbeline dead death Dover Wilson dramatic dramatist effect Elizabethan emotion Enobarbus eyes father feel Folio Fool Fortinbras Gertrude Ghost give Gloucester Goneril Guiderius Hamlet hath hear heart Horatio Iachimo imagination Imogen inner stage Julius Cæsar Kent King Lear King's Laertes later Lear's leave lines look lord madness matter means mind mother murder nature never once Ophelia Osric Othello pass passion pause Pisanio play play's Players Polonius Pompey Portia Posthumus prose Queen Regan Roman Rosencrantz and Guildenstern scene sense Shake Shakespeare Shylock sight soliloquy sort speak speare speech spirit stage direction stagecraft stand story surely tale talk tell theater thee thing thou thought tragedy turn verse words