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Noguchi intended his large floating wall as a symbol of ' time ' or ' history ' while two smaller moving screens were meant to denote elements of evil human will , to be identified with Goneril and Regan . In the first scene there was a ...
Noguchi intended his large floating wall as a symbol of ' time ' or ' history ' while two smaller moving screens were meant to denote elements of evil human will , to be identified with Goneril and Regan . In the first scene there was a ...
Seite 240
His first glimpse of the sleeping Desdemona blunted this purpose and he moved back downstage on “ Yet I'll not shed her ... Still he avoided her , moving upstage and pacing back and forth as he questioned her , like a caged wild beast .
His first glimpse of the sleeping Desdemona blunted this purpose and he moved back downstage on “ Yet I'll not shed her ... Still he avoided her , moving upstage and pacing back and forth as he questioned her , like a caged wild beast .
Seite 274
But with Robeson the contrast with Iago had to be handled from a totally opposite point of view , Robeson himself being an enormous man with a wonderful voice , moving rather slowly , and having a great quality of gentleness and dignity ...
But with Robeson the contrast with Iago had to be handled from a totally opposite point of view , Robeson himself being an enormous man with a wonderful voice , moving rather slowly , and having a great quality of gentleness and dignity ...
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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
Bibliografische Informationen
| Titel | Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 11 Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Laurie Lanzen Harris |
| Verlag | Gale Research Company, 1984 |
| ISBN | 0810361353, 9780810361355 |
| Zitat exportieren | BiBTeX EndNote RefMan |