From Story to Stage: The Dramatic Adaptation of Prose Fiction in the Period of Shakespeare and His ContemporariesMouton, 1974 - 341 strán (strany) |
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Strana 138
... kinetic exposition : " I never saw such an ecstacy of sorrow , since I knew the name of sorrow . Her hands flew up to her head like Furies , hid all her beauties in her dishevelled hair , and wept as she would turn fountain " ( The ...
... kinetic exposition : " I never saw such an ecstacy of sorrow , since I knew the name of sorrow . Her hands flew up to her head like Furies , hid all her beauties in her dishevelled hair , and wept as she would turn fountain " ( The ...
Strana 143
... kinetic exposition . Shakespeare cannot stage Cassio's dreaming of Desdemona not because stage practice inhibits him but because so far as we know Cassio never dreamed such a dream as Iago describes him dreaming . In the source , Iago ...
... kinetic exposition . Shakespeare cannot stage Cassio's dreaming of Desdemona not because stage practice inhibits him but because so far as we know Cassio never dreamed such a dream as Iago describes him dreaming . In the source , Iago ...
Strana 144
... kinetic quality , and the Lord ends with these words : " In short , they beat the Guard , and took him from ' em , / And now march with him like a royal Army " ( IV , pp . 276-277 ) . That Fletcher refuses kinetic material becomes ...
... kinetic quality , and the Lord ends with these words : " In short , they beat the Guard , and took him from ' em , / And now march with him like a royal Army " ( IV , pp . 276-277 ) . That Fletcher refuses kinetic material becomes ...
Obsah
Introduction | 7 |
Constructs and Percepts | 31 |
Gestures Costumes and Properties | 63 |
Autorské práva | |
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From Story to Stage: The Dramatic Adaptation of Prose Fiction in the Period ... Max Bluestone Zobrazenie úryvkov - 1974 |
Časté výrazy a frázy
action actor actor's figure adaptation of prose adapting dramatists aesthetic allusions amalgam of percept audience becomes Bertram body Cassio characters Coriolanus costumes critical Cupid's Revenge Dekker derives Desdemona difference dramaturgical Elizabethan dramatic adaptation Elizabethan theatre Emilia emphasis episode example eyes Faustus Fletcher Frankford gesture Hamlet handkerchief hath Helena Hermione Heywood Hidaspes husband Iago Iago's imitates change imitation of change imply infer Insatiate Countess invented John Marston John Payne Collier Jonson Killed with Kindness kinetic exposition King language Lear Leontes London lover Macbeth Marlowe Marlowe's marriage Marston means of imitation metaphor moral narrative off-stage Olivia Othello Pandosto passion percept and construct Perdita playwrights Polixenes popular adaptations prose fiction sources Renaissance romantic love scene sense sexual Shakespeare Shoemaker's Holiday Sidney's social Space shifts spatial speaks speech stage theatre thematic things thou tion tragedy tragic Twelfth Night violate W. W. Greg wife William Painter Winter's Tale Woman Killed words