King LearApplause Books, 1996 - 220 (Applause Books). These popular editions allow the reader and student to look beyond the scholarly reading text to the more sensuous, more collaborative, more malleable performance text which emerges in conjunction with the commentary and notes. Each note, each gloss, each commentary reflects the stage life of the play with constant reference to the challenge of the text in performance. Readers will not only discover an enlivened Shakespeare, they will be empowered to rehearse and direct their own productions of the imagination in the process. |
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... actor that considers the stage life of the play as its action unfolds . It shows what is demanded from the actors - line by line where nec- essary and points out what decisions about interpretation have to be made and the consequences ...
... actor that considers the stage life of the play as its action unfolds . It shows what is demanded from the actors - line by line where nec- essary and points out what decisions about interpretation have to be made and the consequences ...
Strona 5
... actor's presence will alert the audience to his vigor , while his father pointedly plays down any expectation with " knave " and " whoreson . " Gloucester's lines 28-29 can be spoken appre- hensively , even comically so ; or he can take ...
... actor's presence will alert the audience to his vigor , while his father pointedly plays down any expectation with " knave " and " whoreson . " Gloucester's lines 28-29 can be spoken appre- hensively , even comically so ; or he can take ...
Strona 171
... actor's interpretation , it must be emphatic , for three times in this one line Lear insists on " none . " Perhaps he needs to be so assertive because he feels his physical strength weakening . 162-66 Gloucester is now a " friend ...
... actor's interpretation , it must be emphatic , for three times in this one line Lear insists on " none . " Perhaps he needs to be so assertive because he feels his physical strength weakening . 162-66 Gloucester is now a " friend ...
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action actor Albany answer appear arms asks attention audience authority become breaks bring character close comes Cordelia CORNWALL danger daughters death draw duke Edgar Edmund effect Enter Exit eyes face fall father fear feeling fiend follow fool fortune France further give Gloucester Gloucester's gods Goneril hand hath head hear heart hold immediately keep Kent kill king Lear Lear's leaves letter live look lord master means mind nature never night offer omits once OSWALD pain pause performance perhaps play poor probably question Regan response scene seems sense servant Shakespeare silent sister speak speech spoken stage stands storm suffering suggests talk tears tell thee thing thou thoughts tion tries true turns voice whole