Titlebook: Shakespeare in Performance; Castings and Metamor Ralph Berry Book 1993 Ralph Berry 1993 drama.Hamlet.history.history of literature.identity

严厉批评

Casting the Chorus,arean choruses and prologues are luxury castings for individual actors, which depend upon spacious production values. Certainly in Shakespeare’s day, and very generally since, the actor playing chorus will have had to combine it with at least one other part. This double will be visible, so to speak;

colostrum

使饥饿

,Lear’s System and Cordelia’s Aside: Leading the Audience,d therefore of the play. He cannot be taken too literally. Intelligence does not always express itself in manifestly ‘intelligent’ observation. Still, if Orwell is essentially right, the opening ceremonial is a mere dotage. And this is a view commanding wide support. ‘In the first scene of the play,

Keshan-disease

原谅

Metamorphoses of the Audience,o special characteristics. They are a plurality rather than a group. But on occasion, the stage personnel coalesce into a group with marked corporate identity. It may be a mob, a congregation, an army. In such cases the tendency is for the audience mind to be replicated on stage: that is, our involv

archetype

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断断续续

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Book 1993and the crowd, the star of Hamlet and Measure for Measure. The transformations of The Tempest and Dramatis Personae are analysed. Audience control is studied in King Lear, through Cordelia‘s asides, in Richard II with its subversive laughter, and in Henry IV with its scenic alternation of pleasure a