A Companion to Shakespeare and PerformanceBarbara Hodgdon, W. B. Worthen John Wiley & Sons, 15 апр. 2008 г. - Всего страниц: 704 A Companion to Shakespeare and Performance provides a state-of-the-art engagement with the rapidly developing field of Shakespeare performance studies.
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Стр. 18
... argues that stillness and death are central to life's animation and vitality. Speculating that the life drive emerges from a kind of splitting of “the germ cells," in which one part of the organism dies while another part returns to an ...
... argues that stillness and death are central to life's animation and vitality. Speculating that the life drive emerges from a kind of splitting of “the germ cells," in which one part of the organism dies while another part returns to an ...
Стр. 23
... argues that Lear is motivated to stage the love test because he wants to avoid love, thinking himself unworthy of it. Cavell suggests that by using his property to pay for the public exclamation of how much he is loved, Lear thinks that ...
... argues that Lear is motivated to stage the love test because he wants to avoid love, thinking himself unworthy of it. Cavell suggests that by using his property to pay for the public exclamation of how much he is loved, Lear thinks that ...
Стр. 25
... argues that the play reflects James' attempt to turn “kingship from a political into a property relation” (1991: 221). While there is much of value in Halpern's argument, it overlooks the psychological force of the play. In Lear, the ...
... argues that the play reflects James' attempt to turn “kingship from a political into a property relation” (1991: 221). While there is much of value in Halpern's argument, it overlooks the psychological force of the play. In Lear, the ...
Стр. 34
... Wolfgang Schirmacher in August 2001 have influenced my sense of Lear's many heartbreaks. 4 Kristeva (1997) traces the logical end-point of this breakdown. She argues: 2 Staging the Monograph In 1957 the great medieval historian.
... Wolfgang Schirmacher in August 2001 have influenced my sense of Lear's many heartbreaks. 4 Kristeva (1997) traces the logical end-point of this breakdown. She argues: 2 Staging the Monograph In 1957 the great medieval historian.
Стр. 64
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Содержание
1 | |
11 | |
Part II Materialities Writing and Performance | 139 |
Part III Histories | 231 |
Part IV Performance Technologies Cultural Technologies | 397 |
Part V Identities of Performance | 509 |
Part VI Performing Pedagogies | 625 |
Index | 659 |
Другие издания - Просмотреть все
A Companion to Shakespeare and Performance Barbara Hodgdon,W. B. Worthen Недоступно для просмотра - 2008 |
A Companion to Shakespeare and Performance Barbara Hodgdon,W. B. Worthen Недоступно для просмотра - 2007 |
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actors architecture argues Asian audience authentic Bianca body Cambridge cast character cinema contemporary context costume critical cues cultural Desdemona director drama early modern editors Elizabethan English experience Falstaff Festival film film’s Folio frame gender Hamlet Henry identity imagined Indian intercultural interpretation Kathakali King Lear language Lear’s London Macbeth meaning narrative offer Othello Oxford Peter Petruchio play’s political practice production production’s Quarto race reading recent recording relationship Renaissance Richard Richard III Riot Grrrl role Romeo and Juliet Rosalind Royal Shakespeare Royal Shakespeare Company scene screenplay screenplay edition script sense sexual Shake Shakespeare at Winedale Shakespeare’s Globe Shakespeare’s plays Shakespearean performance social space speak spectators speech stage Stanislavski story Stratford suggests textual theatre theatrical Theyyam Titus Titus Andronicus Titus’s tourist tradition Tranio Twelfth Night University Press voice William Shakespeare women words Worthen writing