The Adventures of a Shakespeare Scholar: To Discover Shakespeare's Art, Volume 10Rarely does a scholar single-handedly point Shakespeare study in a new direction. But in the 1950s, when brilliant insights were being achieved in Shakespeare's language, and a few theatre historians were recording stagings and stage business, Marvin Rosenberg led the way to a wider perspective of the poet-playwright's genius. He insisted that Shakespeare's art fused poetry-of-the-word with poetry-of-the-theatre, each illuminating the other inseparably. |
From inside the book
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Page 11
... linear form of Hamlet . His analysis of act 4 , scene 4 , for example , highlights the importance of Fortinbras , often overlooked in criticism and omitted in theatrical productions , at considerable cost to the overall structure and ...
... linear form of Hamlet . His analysis of act 4 , scene 4 , for example , highlights the importance of Fortinbras , often overlooked in criticism and omitted in theatrical productions , at considerable cost to the overall structure and ...
Page 18
... linear drive , muscled in the poet's eloquent ( contextual ) visions of the human condition . Often , later , when I came on a scene that seemed accepted in performance as well as in criticism as no more than a sequence of inci- dents ...
... linear drive , muscled in the poet's eloquent ( contextual ) visions of the human condition . Often , later , when I came on a scene that seemed accepted in performance as well as in criticism as no more than a sequence of inci- dents ...
Page 21
... linear character transitions . Shakespeare partly builds his action on the mystery in Edgar's troubled character , on his silences — will he tell ? —until only at the very last , after his too - late reve- lation of who he is , that ...
... linear character transitions . Shakespeare partly builds his action on the mystery in Edgar's troubled character , on his silences — will he tell ? —until only at the very last , after his too - late reve- lation of who he is , that ...
Page 22
... linear advances . He did not simply construct a series of expectations that would lead to an ending . As many of us have found , what Shakespeare did that keeps his plays so alive was his creation of characters whose driving impulses ...
... linear advances . He did not simply construct a series of expectations that would lead to an ending . As many of us have found , what Shakespeare did that keeps his plays so alive was his creation of characters whose driving impulses ...
Page 24
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action actors aesthetic ambiguity Angelo arousal artistic asked audience Banquo Cassio character characterization child Claudius colleagues comedy complex contextual Cordelia critics David Garrick death Desdemona drama Duke Edgar eighteenth century Elizabethan emotional essay experience eyes fantasy father feel Fool Garrick Gertrude gestures Gloster Hall hero human Iago Iago's imagery imagine impulses Isabella Kemble kill kind King Lear Lady Macbeth Laertes language Lear's learned linear lines look Masks Measure for Measure mind Modern Language Association motivation moved murder Ophelia Othello passion patterns performance perhaps personality play play's playwright poetry Polonius polyphony power Hamlet rehearsals response role Salvini scene scholars Scofield seems sense sexual Shake Shakespeare Conference shock soliloquy sometimes sound speak speare's spectators speech stage Stratford subtext suggest sweet Hamlet symbolic theater thing thou thought tion tragedy tragic tragic heroes verbal videotape visual voice words