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Seite 119
He is most fulsome on the rival Lears of David Garrick and Spranger Barry . In Wingate's estimation , “ Barry , even with his silver voice , could not equal the passion and variety of Garrick's tones " ; yet the critic notes Garrick was ...
He is most fulsome on the rival Lears of David Garrick and Spranger Barry . In Wingate's estimation , “ Barry , even with his silver voice , could not equal the passion and variety of Garrick's tones " ; yet the critic notes Garrick was ...
Seite 185
This friend of a friend then criticized Garrick on three counts . First his deportment before the Senate was pompous instead of gentle and serene . Secondly , he gave evidence of too many mannerisms , gesticulations , and wincings later ...
This friend of a friend then criticized Garrick on three counts . First his deportment before the Senate was pompous instead of gentle and serene . Secondly , he gave evidence of too many mannerisms , gesticulations , and wincings later ...
Seite 387
First of these comes the production of Romeo and Juliet in Garrick's mangled version , the earliest of these perversions of Shakespeare's texts which are Garrick's crowning disgrace and cast something more than doubt upon his much ...
First of these comes the production of Romeo and Juliet in Garrick's mangled version , the earliest of these perversions of Shakespeare's texts which are Garrick's crowning disgrace and cast something more than doubt upon his much ...
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Inhalt
King Lear | 1 |
Othello | 179 |
Romeo and Juliet | 374 |
Urheberrecht | |
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action actor admirable appeared audience beauty becomes beginning Booth Brook called Cassio century character comes conception Cordelia critic daughters death Desdemona directed Edgar effect Elizabethan Emilia emotion English expression eyes face feel final Fool force Garrick give given Gloucester Goneril hand heart human Iago imagination interpretation Irving John Juliet Kean kind King Lear lack lago later Lear's less light lines London look manner meaning mind Miss Moor moving nature never night notes once opening original Othello passion performance perhaps person physical play present production reading reason remarks role Romeo Salvini scene seems seen sense Shakespeare speak speech stage storm success suggested Theatre thing thought tion tragedy tragic turn voice whole