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Index
Shakespeare's Dramatic Transactions
Acknowledgments
Preface
I
Integrating Actor and Audience
Process versus Product
Convention and Reality
Figurenposition
II
Language, Staging, and "Affect": Figurenposition in Richard III
"Impish-to-fiendish humour"
"A jolly thriving wooer"
"To prove a villain"
"Considerate eyes"
"I am in / So far in blood"
III
Engagement and Detachment in Richard II
"I am Richard II, know ye not that"
"To monarchize"
"I speak but idly"
"A mockery king of snow"
"As in a theatre"
IV
Representation and Privileged Knowledge in Hamlet
"In Hamlet the rapport is not between actor and actor but between Hamlet and the audience"
"A little more than kin"
"A hawk from a hand-saw"
"What means this, my lord?"
"Whose grave's this, sirrah?"
V
Location and Idiom in Othello
"The special pathos of our urge to intervene"
"I' th' alehouse"
"Goats and monkeys"
"I kissed thee ere I kill'd thee"
"I lack iniquity"
"How am I then a villain"
VI
Multiconsciousness in King Lear
"The hope of the reader"
"Edgar I nothing am"
"When we our betters"
"In nothing am I chang'd"
"Speak what we feel"
VII
Voice and Multiple Awareness in Macbeth
"As sensitive as Hamlet ... as ruthless as Richard III"
"I am in blood stepp'd in so far"
"Look how our partner's rapt"
"A poor player"
VIII
Directing Sympathy in Antony and Cleopatra
"Marble countenances"
"A place i' th' story"
"O'er-picturing that Venus"
"A lass unparallel'd"
Notes
I. Integrating Actor and Audience
II. Language, Staging, and "Affect": Figurenposition in Richard III
III. Engagement and Detachment in Richard II
IV. Representation and Privileged Knowledge in Hamlet
V. Location and Idiom in Othello
VI. Multiconsciousness in King Lear
VII. Voice and Multiple Awareness in Macbeth
VIII. Directing Sympathy in Antony and Cleopatra
Index
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