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 - 3 de 80.
Pàgina 189
... kind , " child , but rather " not united to the king by the usual ties of affinity of senti- ment and affection supposed to follow kinship of blood . " Fechter , whose eyes had been fixed on the ground , roused himself momentarily from ...
... kind , " child , but rather " not united to the king by the usual ties of affinity of senti- ment and affection supposed to follow kinship of blood . " Fechter , whose eyes had been fixed on the ground , roused himself momentarily from ...
Pàgina 287
... kind of poise , some kind of wholeness of being , a kind of poise that Hamlet frequently draws upon when he needs to hold himself in readiness , when he is waiting for the invisible event . . . . One impression Hamlet strongly projects ...
... kind of poise , some kind of wholeness of being , a kind of poise that Hamlet frequently draws upon when he needs to hold himself in readiness , when he is waiting for the invisible event . . . . One impression Hamlet strongly projects ...
Pàgina 829
... kind of double vision here : his characters , of high class and low , ridicule each other and their own kind . The Prince will see the flaws in both commoners and courtiers ; the commoner ( Shake- speare was one ) does too ...
... kind of double vision here : his characters , of high class and low , ridicule each other and their own kind . The Prince will see the flaws in both commoners and courtiers ; the commoner ( Shake- speare was one ) does too ...
Continguts
Act I Scene i Part | 1 |
Act I Scene ii Part | 82 |
Hamlet Part | 105 |
Copyright | |
No s’hi han mostrat 19 seccions
Altres edicions - Mostra-ho tot
Frases i termes més freqüents
action actor appearance arms asks audience become begins believe bitter body Booth break called carried character Claudius close comes court dangerous death deep directed effect emotional entered evidently eyes face father fear feel felt final follow force friends Gertrude Gertrude's gesture Ghost Gielgud give Hamlet hand head hear heard heart held hold Horatio imagined intense kill kind King Laertes later leave look mean mind moment mother moved murder nature never objective observed once Ophelia passion perhaps physical play Player Polonius Prince Queen question reflected revenge rising role scene seems seen sense sexual Shakespeare shock soliloquy sometimes soul sound speak speech spoke stage suddenly suggests sweet sword tears tell tenderness theatre thing thought touch tried trying turned usually voice whole young
Referències a aquest llibre
Hamlet, Protestantism, and the Mourning of Contingency: Not to be John E. Curran Visualització de fragments - 2006 |