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 19
... condition by this blind old man , before he agrees to guide him ? What of the eloquent moments when we surely want Edgar to speak , as when he hears his blinded father lament , O dear son Edgar . . . Might I but PROLOGUE 19.
... condition by this blind old man , before he agrees to guide him ? What of the eloquent moments when we surely want Edgar to speak , as when he hears his blinded father lament , O dear son Edgar . . . Might I but PROLOGUE 19.
Page 20
... speaking without dialect , Edgar approves of Gloster's promise to the gods to be patient . Edgar may even have reached a point of reconciliation of putting or wanting to put — a caring hand on Gloster's arm , or across his back . Well ...
... speaking without dialect , Edgar approves of Gloster's promise to the gods to be patient . Edgar may even have reached a point of reconciliation of putting or wanting to put — a caring hand on Gloster's arm , or across his back . Well ...
Page 21
... speaking over several scenes , as we see Edgar , after his first rough imper- sonal escorting , more and more gently guide his father , more and more let us feel his urge to give his name , his love , as we follow one of Shake- speare's ...
... speaking over several scenes , as we see Edgar , after his first rough imper- sonal escorting , more and more gently guide his father , more and more let us feel his urge to give his name , his love , as we follow one of Shake- speare's ...
Page 32
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Page 69
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Common terms and phrases
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