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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... speak for itself, it may not make a sound (Brook 1968: 38), the implicit notion was that it could do so. By the early 1980s, the idea that the place to study the plays was the theatre — whether that meant actual performance spaces ...
... speak for itself, it may not make a sound (Brook 1968: 38), the implicit notion was that it could do so. By the early 1980s, the idea that the place to study the plays was the theatre — whether that meant actual performance spaces ...
Стр. 25
... speak the language of public love modeled by Queen Elizabeth. But Cordelia, who is suffering a similar exhaustion as Lear's, insofar as she has spent her life listening to her older, tediously verbal sisters and has spent her most ...
... speak the language of public love modeled by Queen Elizabeth. But Cordelia, who is suffering a similar exhaustion as Lear's, insofar as she has spent her life listening to her older, tediously verbal sisters and has spent her most ...
Стр. 26
... Speak. CORDELIA: Nothing, my Lord. LEAR: Nothing? CORDELIA: Nothing. (1.1.81-8) In going out to shelter Lear's emptiness with her own, Cordelia discovers her “secret psychological life.” Cordelia's response ushers in her transition from ...
... Speak. CORDELIA: Nothing, my Lord. LEAR: Nothing? CORDELIA: Nothing. (1.1.81-8) In going out to shelter Lear's emptiness with her own, Cordelia discovers her “secret psychological life.” Cordelia's response ushers in her transition from ...
Стр. 29
... speak?”) might be explained as a theatrical device to identity herself to the audience, her return to third person address three times in the scene emphasizes her awakening to a self she had not yet known. Her sisters do not use this ...
... speak?”) might be explained as a theatrical device to identity herself to the audience, her return to third person address three times in the scene emphasizes her awakening to a self she had not yet known. Her sisters do not use this ...
Стр. 39
... speak Shakespeare. I will establish the connection between voice-training and management practice later. I want first, though, to explore the perhaps overly familiar tension between body and voice, articulated this time as a contrast ...
... speak Shakespeare. I will establish the connection between voice-training and management practice later. I want first, though, to explore the perhaps overly familiar tension between body and voice, articulated this time as a contrast ...
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 |
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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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