The Masks of HamletUniversity of Delaware Press, 1992 - 971 pàgines In this work, Rosenberg insists again and again that only the individual reader or actor can determine Shakespeare's design of Hamlet's character -- and of the play. To interpret Hamlet's words and actions at the many crises, the reader needs to double in the role of actor, imagining the character from the inside and observing from the outside. Winner of the Theatre Library Association Award for 1993. |
Des de l'interior del llibre
Resultats 1 - 5 de 68.
Pàgina xi
... leave the decision up to you . I will say , for the other characters as well as for Hamlet , " Only the actor- reader can decide . " Only the person intimate with Shakespeare's text ( for the text is the bedrock , must always come first ) ...
... leave the decision up to you . I will say , for the other characters as well as for Hamlet , " Only the actor- reader can decide . " Only the person intimate with Shakespeare's text ( for the text is the bedrock , must always come first ) ...
Pàgina xix
... leave them so , or cite " other observers . " Better valuable illu- mination with no source than a loss of it . I synthesize comments where feasible , both from the sources Mary and I explored , and from the information supplied by col ...
... leave them so , or cite " other observers . " Better valuable illu- mination with no source than a loss of it . I synthesize comments where feasible , both from the sources Mary and I explored , and from the information supplied by col ...
Pàgina 21
... leave the theatre at that point , got in the way of this light — and a shadow passed over the audience ; and my blood , and I think everybody's blood , went cold . The Ghost has unmaterialized in symbolic or imagined ways . Gielgud ...
... leave the theatre at that point , got in the way of this light — and a shadow passed over the audience ; and my blood , and I think everybody's blood , went cold . The Ghost has unmaterialized in symbolic or imagined ways . Gielgud ...
Pàgina 36
... leave behind the first scene's inno- cents , free of hidden motives of their own ; in this indoor world mingle dangerous , complex figures who mask covert purposes behind socially acceptable fronts . They carry danger with them as they ...
... leave behind the first scene's inno- cents , free of hidden motives of their own ; in this indoor world mingle dangerous , complex figures who mask covert purposes behind socially acceptable fronts . They carry danger with them as they ...
Pàgina 79
... leave their tinct . Gertrude's apologists argue that adultery is not proved : that adulterate as applied to Claudius could simply be a synonym for incestuous . Then the Ghost's that adulterous , that incestuous beast . . . could merely ...
... leave their tinct . Gertrude's apologists argue that adultery is not proved : that adulterate as applied to Claudius could simply be a synonym for incestuous . Then the Ghost's that adulterous , that incestuous beast . . . could merely ...
Continguts
Act III Scene i Part 2 | 463 |
Act III Scene i Part 3 | 473 |
Act III Scene i Part 4 | 484 |
Act III Scene i Part 5 | 497 |
Act III Scene i Part 6 | 508 |
Act III Scene ii Part 1 | 548 |
Act III Scene ii Part 2 | 553 |
Act III Scene ii Part 3 | 560 |
47 | |
70 | |
82 | |
Hamlet Part 1 | 92 |
Hamlet Part 2 | 118 |
Hamlet Part 3 | 155 |
Hamlet Part 4 | 167 |
Act I Scene ii Part 3 | 186 |
Act I Scene ii Part 4 | 204 |
Act I Scene ii Part 5 | 221 |
Ophelia | 236 |
Laertes | 253 |
Polonius | 257 |
Act I Scene iii | 265 |
Act I Scene iv | 281 |
Act I Scene v Part 1 | 310 |
Act I Scene v Part 2 | 328 |
Act I Scene v Part 3 | 340 |
Act II Scene i | 357 |
Act II Scene ii Part 1 | 368 |
Act II Scene ii Part 2 | 375 |
Act II Scene ii Part 3 | 386 |
Act II Scene ii Part 4 | 403 |
Act II Scene ii Part 5 | 415 |
Act II Scene ii Part 6 | 438 |
Act III Scene i Part 1 | 455 |
Act III Scene ii Part 4 | 572 |
Act III Scene ii Part 5 | 577 |
Act III Scene ii Part 6 | 594 |
Act III Scene iii | 622 |
Act III Scene iv Part 1 | 641 |
Act III Scene iv Part 2 | 673 |
Act III Scene iv Part 3 | 686 |
Act IV Scene i | 722 |
Act IV Scene ii | 729 |
Act IV Scene iii | 732 |
Act IV Scene iv | 745 |
Act IV Scene v Part 1 | 757 |
Act IV Scene v Part 2 | 776 |
Act IV Scene v Part 3 | 789 |
Act IV Scene v Part 4 | 797 |
Act IV Scene vi | 810 |
Act IV Scene vii | 812 |
Act V Scene i Part 1 | 825 |
Act V Scene i Part 2 | 845 |
Act V Scene ii Part 1 | 859 |
Act V Scene ii Part 2 | 875 |
Act V Scene ii Part 3 | 905 |
Act V Scene ii Part 4 | 911 |
Bibliography | 927 |
Index | 955 |
Altres edicions - Mostra-ho tot
Frases i termes més freqüents
action actor actor-reader Alan Howard antic arms arras asks audience begins Booth Burton character Charles Kean Claudius court courtiers dangerous death Denmark Dover Wilson emotional eyes face father fear Fechter feel felt fierce Fortinbras Frances Barber G. B. Shaw Gertrude Gertrude's gesture Ghost Gielgud grief Hamlet plays hand head Horatio impulse Irving Jacobi Kachalov Kainz Kean Kemble kill kind King King's kiss Laertes later laugh lonius look Marcellus mask McKellen's mind mother Mousetrap moved murder mystery observed Olivier Ophelia passion pause perhaps physical play Player Polonius polyphony power Hamlet Prince Queen revenge role Rosencrantz and Guildenstern scene seems seen sense sexual Shakespeare shock soliloquy sometimes soul sound speak speech spies spoke stage subtext suddenly suggests sweet Hamlet sword tears tenderness theatre thought tone touch tried trying turned usually violence voice whisper Wittenberg words young
Passatges populars
Pàgina 178 - I am myself indifferent honest ; but yet I could accuse me of such things, that it were better my mother had not borne me ; I am very proud, revengeful, ambitious ; with more offences at my beck, than I have thoughts to put them in, imagination to give them shape, or time to act them in.
Pàgina 309 - What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form, Which might deprive your sovereignty of reason And draw you into madness...
Pàgina 33 - And then it started, like a guilty thing Upon a fearful summons. I have heard The cock, that is the trumpet to the morn, Doth with his lofty and shrill-sounding throat Awake the god of day; and at his warning. Whether in sea or fire, in earth or air, The extravagant and erring spirit hies To his confine; and of the truth herein This present object made probation.
Pàgina 79 - Such an act, That blurs the grace and blush of modesty; Calls virtue, hypocrite; takes off the rose From the fair forehead of an innocent love, And sets a blister there; makes marriage vows As false as dicers...
Pàgina 473 - To assume a pleasing shape; yea, and perhaps Out of my weakness and my melancholy, As he is very potent with such spirits, Abuses me to damn me. I'll have grounds More relative than this: the play's the thing Wherein I'll catch the conscience of the king.
Pàgina 12 - Whose blood and judgment are so well commingled That they are not a pipe for fortune's finger To sound what stop she please. Give me that man That is not passion's slave, and I will wear him In my heart's core, ay, in my heart of heart, As I do thee.
Pàgina 168 - O, what a noble mind is here o'erthrown! The courtier's, soldier's, scholar's, eye, tongue, sword; The expectancy and rose of the fair state, The glass of fashion and the mould of form, The observed of all observers, quite, quite down!
Pàgina 284 - That for some vicious mole of nature in them, As, in their birth, wherein they are not guilty, Since nature cannot choose his origin, By the o'ergrowth of some complexion, Oft breaking down the pales and forts of reason, Or by some habit that too much o'er-leavens The form of plausive manners ; that these men, Carrying, I say, the stamp of one defect, Being nature's livery, or fortune's star, Their virtues else, be they as pure as grace, As infinite as man may undergo, Shall in the general censure...
Referències a aquest llibre
Hamlet, Protestantism, and the Mourning of Contingency: Not to be John E. Curran Visualització de fragments - 2006 |