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 222
... face . The combination of physical endowments and exceptional histrionic genius made Salvini an ideal interpreter of Othello , and his orien- tal conception of the character revealed the full range of his emotional expression , from the ...
... face . The combination of physical endowments and exceptional histrionic genius made Salvini an ideal interpreter of Othello , and his orien- tal conception of the character revealed the full range of his emotional expression , from the ...
Page 223
... face is of immense mobili- ty , but its changes are rapid , and not slowly shifting ones . His face presents this look at one moment , and that - a quite dif- ferent one - at another , and you are rather strangely con- scious that the ...
... face is of immense mobili- ty , but its changes are rapid , and not slowly shifting ones . His face presents this look at one moment , and that - a quite dif- ferent one - at another , and you are rather strangely con- scious that the ...
Page 477
... face , " heard " it in the music that italicizes those facial expressions to make this one of the most graphic scenes in the film . As the nurse answers Juliet's desperate re- quest for advice and counsel with the suggestion that she ...
... face , " heard " it in the music that italicizes those facial expressions to make this one of the most graphic scenes in the film . As the nurse answers Juliet's desperate re- quest for advice and counsel with the suggestion that she ...
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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