Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volume 11Gale Research Company, 1984 |
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Page 233
... Salvini had no mannerisms . His stature and form , indeed , made disguise almost impossible , but his characters presented wide distinctions in gait , gesture , carriage , and manners . His versatility was astonishing . In Italy he was ...
... Salvini had no mannerisms . His stature and form , indeed , made disguise almost impossible , but his characters presented wide distinctions in gait , gesture , carriage , and manners . His versatility was astonishing . In Italy he was ...
Page 235
... Salvini molded with such clearness , with such merciless logic and such irresistible persuasiveness that the spectator saw all the detailed curves of the suffering soul of Othello and sympathized with him from the depths of the heart ...
... Salvini molded with such clearness , with such merciless logic and such irresistible persuasiveness that the spectator saw all the detailed curves of the suffering soul of Othello and sympathized with him from the depths of the heart ...
Page 237
... Salvini began to add gesture and movement to his already formidable skill in facial expression and voice modulation . The wooing of Desdemona was re- counted with the accompaniment of gestures of a particularly illustrative kind . For ...
... Salvini began to add gesture and movement to his already formidable skill in facial expression and voice modulation . The wooing of Desdemona was re- counted with the accompaniment of gestures of a particularly illustrative kind . For ...
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action actor admirable appeared audience Barry beauty Booth Brabantio Brook Cassio century character Cibber conception Cordelia costumes critic curtain daughters David Garrick Desdemona Donald Wolfit dramatic Drury Lane Edgar Edmund Edmund Kean Edwin Booth effect Elizabethan Emilia emotional essay date expression eyes feel Fool Forrest Garrick gesture give Gloucester Goneril heart Henry Irving Iago Iago's imagination interpretation Irving Irving's jealousy John Gielgud Kean Kean's Kemble Kent King Lear Lear's lines London look Macready mance ment mind Miss Moor nature never night noble Old Vic Olivier Olivier's Othello passion pathos performance Peter Brook play's players portrayal rage Regan review date Robeson Roderigo role Romeo and Juliet Salvini scene Scofield seems sense Shake Shakespeare speak speech stage storm Stratford suggested Theatre theatrical thing thou thought tion Tommaso Salvini tone tragedy tragic voice whole Wolfit words