The Masks of HamletUniversity of Delaware Press, 1992 - 971 páginas In this work, Rosenberg insists again and again that only the individual reader or actor can determine Shakespeare's design of Hamlet's character -- and of the play. To interpret Hamlet's words and actions at the many crises, the reader needs to double in the role of actor, imagining the character from the inside and observing from the outside. Winner of the Theatre Library Association Award for 1993. |
Índice
Act I Scene i Part | 1 |
Gertrude | 10 |
Act I Scene ii Part | 36 |
Direitos de autor | |
20 outras secções não apresentadas
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Palavras e frases frequentes
action actor actor-reader Alan Howard antic arms arras asks audience begins Booth Burton character Charles Kean Charles Kemble Claudius court courtiers dangerous death Denmark Dover Wilson emotional eyes face father fear Fechter feel felt fierce Fortinbras G. B. Shaw Garrick Gertrude Gertrude's gesture Ghost Gielgud grief hand head Horatio impulse Irving Jacobi Kachalov Kainz Kean Kemble kill kind King King's kiss Laertes later laugh lonius look Marcellus mask McKellen's mood mother Mousetrap moved murder mystery observed Olivier Ophelia passion pause perhaps physical play Player Polonius polyphony power Hamlet Prince Queen revenge role Rosencrantz and Guildenstern scene seems seen sense sexual Shakespeare shock soliloquy sometimes Sothern soul sound speak speech spies spoke stage subtext suddenly suggests sweet Hamlet sword tears tenderness theatre thought tone touch tried trying turned usually violence voice whisper Wittenberg words young
Referências a este livro
Hamlet, Protestantism, and the Mourning of Contingency: Not to be John E. Curran Visualização de excertos - 2006 |