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 |
From inside the book
Results 1-3 of 79
Page 356
... stage " is inextricably connected with a re- alistic conception of stage representation : “ . . . if we assume a permanent rear stage , our natural tendency is to look for scenes in which to use it , and to try so far as possible for ...
... stage " is inextricably connected with a re- alistic conception of stage representation : “ . . . if we assume a permanent rear stage , our natural tendency is to look for scenes in which to use it , and to try so far as possible for ...
Page 508
... stage was used by itself , actors remained within its boundaries and the outer stage between it and the audience lay dormant . There was usually no need for the playwright to label an inner scene , for the setting announced itself ; and ...
... stage was used by itself , actors remained within its boundaries and the outer stage between it and the audience lay dormant . There was usually no need for the playwright to label an inner scene , for the setting announced itself ; and ...
Page 518
... stage directions that are sometimes confused and often uninformative about details of staging or action . Q1 , however , as a ' bad ' quarto or memorial reconstruction , based on what the reporter ( s ) could recall of an earlier ...
... stage directions that are sometimes confused and often uninformative about details of staging or action . Q1 , however , as a ' bad ' quarto or memorial reconstruction , based on what the reporter ( s ) could recall of an earlier ...
Other editions - View all
Common terms and phrases
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