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Seite 177
“ Acting and Feeling : Histrionic Imagery in King Lear . " In his Acting and Action in Shakespearean Tragedy , pp . 71-92 . Princeton : Princeton University Press , 1985 . Directs attention to techniques Shakespeare has written into the ...
“ Acting and Feeling : Histrionic Imagery in King Lear . " In his Acting and Action in Shakespearean Tragedy , pp . 71-92 . Princeton : Princeton University Press , 1985 . Directs attention to techniques Shakespeare has written into the ...
Seite 539
Aldridge , Ira Othello 11 : 323 , 327 Ashcroft , Peggy King Lear 11:60 , 61 Othello 11 : 262 , 264 Romeo and Juliet 11 : 442 , 443 , 444 , 446 , 447 , 448 , 451 , 516 Ayrton , Randle King Lear 11:47 , 48 , 49 Badel , Alan King Lear ...
Aldridge , Ira Othello 11 : 323 , 327 Ashcroft , Peggy King Lear 11:60 , 61 Othello 11 : 262 , 264 Romeo and Juliet 11 : 442 , 443 , 444 , 446 , 447 , 448 , 451 , 516 Ayrton , Randle King Lear 11:47 , 48 , 49 Badel , Alan King Lear ...
Seite 540
Kean , Charles King Lear 11:24 Kean , Edmund King Lear 11:10 , 12 , 15 Othello 11 : 191 , 192 , 193 , 195 , 196 , 197 , 198 , 199 , 201 , 202 , 208 , 212 , 219 , 2 27 , 327 Romeo and Juliet 11 : 395 , 396 , 397 , 487 Kemble , Charles ...
Kean , Charles King Lear 11:24 Kean , Edmund King Lear 11:10 , 12 , 15 Othello 11 : 191 , 192 , 193 , 195 , 196 , 197 , 198 , 199 , 201 , 202 , 208 , 212 , 219 , 2 27 , 327 Romeo and Juliet 11 : 395 , 396 , 397 , 487 Kemble , Charles ...
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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