The Masks of Anthony and CleopatraUniversity of Delaware Press, 2006 - 605 psl. A sensitive and penetrating analysis, scene by scene, act by act, of this most complex and ambiguous of Shakespeare's great plays, seen through the eyes of both the literary critic and the student of theatrical history. As in his earlier Masks books, Marvin Rosenberg has gathered impressions from performance reviews from all over the world, comments by actors and directors, and his own personal experience of the play in rehearsal and staging, and has combined these insights with extensive reading of critical essays and consideration of the thoughts and opinions of his literary colleagues to form an illuminating interpretive study. The book also conveys the author's wholehearted enthusiasm for the play and his profound appreciation of Shakespeare's poetic and dramatic genius. The book, left unfinished at Dr Rosenberg's death in 2003, was edited and completed by his wife, Mary. |
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12 psl.
... seems to invite an exceptional polarity of response . * But it is , of course , an oversimplification : and there are many whose views do not fit so neatly into one category or the other . So what exactly constitutes a Rosenberg Yea or ...
... seems to invite an exceptional polarity of response . * But it is , of course , an oversimplification : and there are many whose views do not fit so neatly into one category or the other . So what exactly constitutes a Rosenberg Yea or ...
27 psl.
... seems to make of them . We can all agree that Shakespeare , in his major characters , sounded many varying notes in the human instrument what I have called the polyphony ; but we often hear the tunes very differently . Because how ...
... seems to make of them . We can all agree that Shakespeare , in his major characters , sounded many varying notes in the human instrument what I have called the polyphony ; but we often hear the tunes very differently . Because how ...
34 psl.
... seems to me to help impel the kind of character interplay the playwright is after . Try to let it do that for you . I will not , as often as in my earlier books , refer in detail to particular stagings . There have not been nearly so ...
... seems to me to help impel the kind of character interplay the playwright is after . Try to let it do that for you . I will not , as often as in my earlier books , refer in detail to particular stagings . There have not been nearly so ...
42 psl.
... seems not alive . Now : how decide between the two interpretations ? There is the way of examining the text objectively , hunting for the traces of character and meaning . Many valuable insights reach us through this mode ; it must not ...
... seems not alive . Now : how decide between the two interpretations ? There is the way of examining the text objectively , hunting for the traces of character and meaning . Many valuable insights reach us through this mode ; it must not ...
44 psl.
... seems to be corrupting the structured life he has learned to depend on . His passion hints to us that he speaks more feeling than fact . His explosive " f " s and " b " s , the harsh " k " sounds , the many hard t s , exclaim his ...
... seems to be corrupting the structured life he has learned to depend on . His passion hints to us that he speaks more feeling than fact . His explosive " f " s and " b " s , the harsh " k " sounds , the many hard t s , exclaim his ...
Turinys
41 | |
70 | |
80 | |
86 | |
Act I Scene iii | 104 |
Octavius | 118 |
Act I Scene iv | 123 |
Act I Scene v | 133 |
Act III Scene xiii | 293 |
Act Four | 315 |
Act IV Scene i | 317 |
Act IV Scene ii | 320 |
Act IV Scene iii | 326 |
Act IV Scene iv | 329 |
Act IV Scene v | 335 |
Act IV Scene vi | 337 |
Act Two | 143 |
Act II Scene i | 145 |
Act II Scene ii | 151 |
Act II Scene iii | 174 |
Act II Scene iv | 180 |
Act II Scene v | 181 |
Act II Scene vi | 197 |
Act II Scene vii | 207 |
Act Three | 225 |
Act III Scene i | 227 |
Act III Scene ii | 231 |
Act III Scene iii | 239 |
Act III Scene iv | 246 |
Act III Scene v | 251 |
Act III Scene vi | 254 |
Act III Scene vii | 262 |
Act III Scenes viii ix and x | 272 |
Act III Scene xi | 278 |
Act III Scene xii | 288 |
Act IV Scene vii | 341 |
Act IV Scene viii | 344 |
Act IV Scene ix | 349 |
Act IV Scenes x xi xii and xiii | 352 |
Act IV Scene xiv | 362 |
Act IV Scene xv | 379 |
Act Five | 393 |
Act V Scene i | 395 |
Act V Scene ii | 403 |
Is Anthony and Cleopatra a Tragedy? | 473 |
Epilogue | 480 |
A Note on the Historical Cleopatra 69 BC30 BC | 482 |
Critical and Theatrical Bibliographies | 489 |
Critical Bibliography | 491 |
Theatrical Bibliography | 532 |
Tributes from Marvin Rosenbergs Colleagues and Friends | 595 |
Index | 597 |
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Pagrindiniai terminai ir frazės
Actium actor Agrippa Alexas Anthony Anthony's Antony and Cleopatra April April 29 arms audience August August 16 battle Bevington Birmingham Mail Birmingham Post body Caesar characters Charmian Cleo Clown Daily Telegraph death director Dolabella edited Egypt Egyptian emotion Enobarbus Enobarbus's Enter Eros Exeunt exit fear feel final Folio Fulvia gestures give hand hear heart imagining reader Iras Julius Caesar July kiss language laugh Lepidus London look lovers Maecenas Mardian Marvin Menas Messenger Nay critic noble November Octavius October Othello Parthia passion patra Philo play Plutarch polyphony Pompey Pompey's Proculeius Queen Reviews Roman Rome Scarus scene seems sense sexual Shake Shakespeare wanted share soldiers sometimes Soothsayer sound speak speare speech stage Stratford subtext suggests surely sword tell Theatre thee Thidias thou thought touch Tragedy triumph University Press Ventidius voice woman women words York
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