Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 21This 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. |
Im Buch
Ergebnisse 1-3 von 84
Seite 67
Latterly he has read the part better than ever before , but the misfortune has been that when he could look Hamlet he was unable to act it , and when he could act it he could no longer look it . MACREADY , with all his wonderful ...
Latterly he has read the part better than ever before , but the misfortune has been that when he could look Hamlet he was unable to act it , and when he could act it he could no longer look it . MACREADY , with all his wonderful ...
Seite 186
Then , as the King rose from his knees , he found the sword missing , and the scene faded out on the look of alarm on his face . The Motleys showed John some of Cranach's work and quickly produced some promising costume designs .
Then , as the King rose from his knees , he found the sword missing , and the scene faded out on the look of alarm on his face . The Motleys showed John some of Cranach's work and quickly produced some promising costume designs .
Seite 303
Once again a chance to make Polonius look foolish was carefully avoided . His catalog of play genres was not pointless rambling , but a frantic attempt to find something that would please Hamlet , who shook his head disapprovingly at ...
Once again a chance to make Polonius look foolish was carefully avoided . His catalog of play genres was not pointless rambling , but a frantic attempt to find something that would please Hamlet , who shook his head disapprovingly at ...
Was andere dazu sagen - Rezension schreiben
Es wurden keine Rezensionen gefunden.
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
acting action actor admirable appearance audience beautiful become beginning better Booth called character Claudius close course court critic death direction effect emotion English expression eyes face fact father Fechter feeling final force Garrick Gertrude Ghost Gielgud give given Hamlet hand Henry Horatio idea impression interpretation Irving John Kean Kemble King Laertes later less light lines living London look manner means mind mother moving nature never night observed Olivier once opening Ophelia passion performance perhaps person play players Polonius present prince production Queen question reading reason role scene seems seen sense Shakespeare soliloquy speak speech spirit stage suggested Theatre thing thought tion tragedy turned voice whole York young