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. 24
... words to express her love, Goneril replies to Lear's demand for love with similarly theatrical words: Sir, I love you more than word can wield the matter Dearer than eye-sight, space and liberty; Beyond what can be valued rich or rare ...
... words to express her love, Goneril replies to Lear's demand for love with similarly theatrical words: Sir, I love you more than word can wield the matter Dearer than eye-sight, space and liberty; Beyond what can be valued rich or rare ...
Стр. 25
... words and wills of others. Listening is often a tutelage in repression, and as the youngest, “our last, and least,” Cordelia has become familiar with silence and knows its secret alcoves and austere shelters. And she also knows that ...
... words and wills of others. Listening is often a tutelage in repression, and as the youngest, “our last, and least,” Cordelia has become familiar with silence and knows its secret alcoves and austere shelters. And she also knows that ...
Стр. 40
... words, “the technical aspects of Shakespeare's text” to “acting the text” (2001: 119), their analysis of the body in motion is restricted only to noting that at some point in the balcony scene Juliet comes on stage. One might have ...
... words, “the technical aspects of Shakespeare's text” to “acting the text” (2001: 119), their analysis of the body in motion is restricted only to noting that at some point in the balcony scene Juliet comes on stage. One might have ...
Стр. 48
... words - she gives us her views on the subject" (2000: 117). Packer's voice is constricted here by Whitney as completely as she in turn constricts Gertrude's: her views are apparently not his in this formulation and the intimate “Tina ...
... words - she gives us her views on the subject" (2000: 117). Packer's voice is constricted here by Whitney as completely as she in turn constricts Gertrude's: her views are apparently not his in this formulation and the intimate “Tina ...
Стр. 58
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Содержание
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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