The Masks of HamletUniversity of Delaware Press, 1992 - 971 Seiten 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. |
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Seite 228
... intense in tragic hor- ror , and his nerves become taut to the snapping point . From that moment on , he is an instrument of nervous sensibility . " In Booth , Winter noticed the change " from stag- nant grief to thrilling excitement ...
... intense in tragic hor- ror , and his nerves become taut to the snapping point . From that moment on , he is an instrument of nervous sensibility . " In Booth , Winter noticed the change " from stag- nant grief to thrilling excitement ...
Seite 265
... intense , if somewhat buried , energy , leading to a climax ominous for Ophelia herself and for the sensitive lover with whom we have already suffered . Action is not dormant through the scene's longer speeches , which themselves are ...
... intense , if somewhat buried , energy , leading to a climax ominous for Ophelia herself and for the sensitive lover with whom we have already suffered . Action is not dormant through the scene's longer speeches , which themselves are ...
Seite 348
... intense inner distraction suggested indeed adopting a mask to cover what was there . Barrett , however , though seemingly very nervous , surprised observers by stressing " not Hamlet's emotional wildness ( though he did execute this ...
... intense inner distraction suggested indeed adopting a mask to cover what was there . Barrett , however , though seemingly very nervous , surprised observers by stressing " not Hamlet's emotional wildness ( though he did execute this ...
Inhalt
Act I Scene i Part | 1 |
Act I Scene ii Part | 82 |
Hamlet Part | 105 |
Urheberrecht | |
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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