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 180
... century , many critics have argued , belonged to Spranger Barry , who first performed the part in 1746 , at Drury Lane . Barry , sup- ported by Macklin's excellent Iago , conveyed the full spec- trum of Othello's passion , synthesizing ...
... century , many critics have argued , belonged to Spranger Barry , who first performed the part in 1746 , at Drury Lane . Barry , sup- ported by Macklin's excellent Iago , conveyed the full spec- trum of Othello's passion , synthesizing ...
Page 344
... century in response to changes in British cultural values . In contrast to previous critics who argued that Othello escaped the drastic cuts that other Shakespearean texts suffered , Rosenberg maintains that " by mid - century the ...
... century in response to changes in British cultural values . In contrast to previous critics who argued that Othello escaped the drastic cuts that other Shakespearean texts suffered , Rosenberg maintains that " by mid - century the ...
Page 345
... century the tragedy was very heavily cut , perhaps more so than any of the other staged Shakespearean plays ; and some of the eliminations could be called reason- able only in a very special eighteenth century sense , if at all . I am ...
... century the tragedy was very heavily cut , perhaps more so than any of the other staged Shakespearean plays ; and some of the eliminations could be called reason- able only in a very special eighteenth century sense , if at all . I am ...
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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