hearing-aid
发表于 2025-3-21 19:45:33
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ALIEN
发表于 2025-3-21 22:55:07
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IVORY
发表于 2025-3-22 04:00:54
What the Characters Said: The Texts of Barton, Davis and Kyleonal rearrangement of speeches and scenes. Three of the most common areas for this sort of attention are the opening of . ii, the long central prison scenes, and the explanations of the finale. Peter Brook made cuts in all three areas, in order, it was felt, to remove anything which would take away from the authority of his Duke.
gain631
发表于 2025-3-22 06:16:35
Men Not Gods: The Dukesew of the character. Bernard Lloyd in a Birmingham Repertory Theatre production in 1976 was a merry prankster who could hardly wait to get away from Vienna to begin his japes. But this lightweight performance was something of a reaction to the general seriousness of purpose with which the Dukes have set about their activities.
Robust
发表于 2025-3-22 11:23:22
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flourish
发表于 2025-3-22 15:19:28
‘Craft Against Vice’: A Conclusion in Which Little is Concludede time as men’s private behaviour is being publically revealed. The previously retiring Duke will conclude his examination of the workings of justice under the scrutiny of the crowd and to the sound of trumpets.
insomnia
发表于 2025-3-22 17:43:14
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JEER
发表于 2025-3-22 22:25:34
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Fermentation
发表于 2025-3-23 03:18:21
Women and Saints: The Isabellasbeen productions in the last quarter of a century which have taken the ‘tough’ line on Isabella — Bond characterised her for Keith Hack as a ‘vicious sex hysteric’ — but broadly speaking the Isabellas of Estelle Kohler (1970), Paola Dionisotti (1978), and Kate Nelligan (1979) provoked ‘softer’ responses.
Measured
发表于 2025-3-23 07:02:42
Angelo and Isabella: ‘Angels on the Outward Side’ity that nobody could really ‘be of worth’ to undertake this task. Even though Claudio never questions the justice of his death sentence, his comments on Angelo’s behaviour again underline the strain between the man and his office: