Titlebook: Shakespeare and the Imprints of Performance; J. Gavin Paul Book 2014 Palgrave Macmillan, a division of Nature America Inc. 2014 Shakespear

deforestation

毛细血管

Fibrillation

反感

Instrumental

Performance Commentary: Writing in the Sand,rom Harold Jenkins’s Arden edition of the play (1982). As planned, Hamlet meets Horatio and Marcellus “Upon the platform ‘twixt eleven and twelve” (1.2.252); chilled by “a nipping and an eager air” (1.4.2), the company waits with nervous anticipation for the Ghost of King Hamlet to appear.. In the m

碌碌之人

准则

,Epilogue: Prospero’s Bands,s perhaps the most overanalyzed and overrated moment in the canon; given the play’s position in Shakespeare’s career, its conclusion has taken on mythological proportions, with many reading it as the culminating statement of the playwright’s life in, and farewell to, the theater.. Such a reading not

BATE

Mediating Page and Stage, dialogue emphasizes the “sanguine colour” (4.1.92) and “paleness” (106) of the roses that Basset and Vernon presumably wear; their division and enmity thus are reinforced visually and linguistically.. Here is the central portion of what is Henry’s longest speech in the play, as it appears in Taylor’s edition:

保留

Book 2014standing and contentious one. Most scholars agree that reading a printed play is a means of dramatic realization absolutely unlike live performance, but everything else beyond this premise is contestable: how much authority to assign to playwrights, the extent to which texts and readings determine p

乞讨

2945-7157 stage polarity.Features analysis of performance commentary, .Within the study of drama, the question of how to relate text and performance—and what interpretive tools are best suited to analyzing them—is a longstanding and contentious one. Most scholars agree that reading a printed play is a means o