Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 21Gale Research Company, 1984 - 461 Seiten This detailed series provides comprehensive coverage of critical interpretations of the plays of Shakespeare. The volume focus on the history of Shakespeare's play Hamlet on the stage and in important film adaptations. |
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Seite 190
... beginning of the play . If Fortinbras represents one embodiment of what Hamlet might have grown into , Laertes is another - especially the noble , light - hearted youth that Laertes was at the beginning . Barker's comments and criticism ...
... beginning of the play . If Fortinbras represents one embodiment of what Hamlet might have grown into , Laertes is another - especially the noble , light - hearted youth that Laertes was at the beginning . Barker's comments and criticism ...
Seite 224
... beginning . Mr. Red- grave's madness is more Pirandello than Shakespeare- like Pirandello's mock Henry the Fourth , he ranges the lonely corridors quizzing and upbraiding and flattering the hired hands unconvincingly tarted up as ...
... beginning . Mr. Red- grave's madness is more Pirandello than Shakespeare- like Pirandello's mock Henry the Fourth , he ranges the lonely corridors quizzing and upbraiding and flattering the hired hands unconvincingly tarted up as ...
Seite 351
... beginning " Then up he rose and donn'd his clothes " ( IV.v.52ff . ) is left out by Betterton , Ward , the two texts of Irving , and Benson . The portion beginning “ By Gis and By Saint Charity " [ IV.v.58ff . ] is left out partially by ...
... beginning " Then up he rose and donn'd his clothes " ( IV.v.52ff . ) is left out by Betterton , Ward , the two texts of Irving , and Benson . The portion beginning “ By Gis and By Saint Charity " [ IV.v.58ff . ] is left out partially by ...
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action actor admirable appearance audience Barrymore beautiful Betterton Booth Burton character Claudius closet scene costumes court critic death dramatic Edmund Kean Edwin Booth effect Ellen Terry Elsinore emotion essay date eyes father Fechter feeling film Fortinbras Garrick Gertrude Ghost Gielgud give Gravedigger Henry Henry Irving Horatio interpretation Irving Irving's John John Barrymore John Gielgud Kean Kean's Kemble Kemble's King King's Laertes Laurence Olivier lines London look Lyceum Macready mance melancholy ment mind mother nature never night nunnery scene O'Toole Old Vic Olivier Olivier's Ophelia Osric passion performance Peter Hall play scene play's players Polonius portrayal prince production of Hamlet Queen reading rehearsal review date review of Hamlet role Rosencrantz and Guildenstern Royal Shakespeare Company scene Act seems seen sense Shakespeare soliloquy speak speech spoke stage sword Theatre theatrical thing thought tion tone tragedy voice words young