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. |
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Page 11
... performance could lead to a better understanding of Shakespeare's art , and how scholarship could help inform theatrical rep- resentation . The leader in this field was - and is - Marvin Rosenberg , the first and certainly the best of ...
... performance could lead to a better understanding of Shakespeare's art , and how scholarship could help inform theatrical rep- resentation . The leader in this field was - and is - Marvin Rosenberg , the first and certainly the best of ...
Page 12
... Performances in Shakespeare's Time , " he found evidence that occasionally plays were enacted at times other than during daylight hours , when torches illuminated performances , however eerie the shadows thus cast must have seemed . But ...
... Performances in Shakespeare's Time , " he found evidence that occasionally plays were enacted at times other than during daylight hours , when torches illuminated performances , however eerie the shadows thus cast must have seemed . But ...
Page 18
... performance as well as in criticism as no more than a sequence of inci- dents , I found that it moved indeed on ... performances of the play I concentrated on ( see , for instance . Chapter 22 , " Paul Scofield's Mac- beth " ) . Then 1 ...
... performance as well as in criticism as no more than a sequence of inci- dents , I found that it moved indeed on ... performances of the play I concentrated on ( see , for instance . Chapter 22 , " Paul Scofield's Mac- beth " ) . Then 1 ...
Page 19
... performance text . " But the two are one . Shake- speare's dramatic text , as present — or imagined — in the characters ' bod- ies , voices , actions is the only text . Almost certainly , as the playwright created it , the gestures and ...
... performance text . " But the two are one . Shake- speare's dramatic text , as present — or imagined — in the characters ' bod- ies , voices , actions is the only text . Almost certainly , as the playwright created it , the gestures and ...
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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