Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volume 40Gale Research Company, 1984 |
From inside the book
Results 1-3 of 70
Page 11
... actors rather than characters . If we see the actor- as - character - as - actor - as Rosalind succeeding or fail- ing to play Ganymede - remembering the boy - actor convention adds another dimension of awareness of gender as ...
... actors rather than characters . If we see the actor- as - character - as - actor - as Rosalind succeeding or fail- ing to play Ganymede - remembering the boy - actor convention adds another dimension of awareness of gender as ...
Page 28
... actor alone on stage is to relinquish the difference on which his feminization partly depends . At such moments , poetic , rhetorical , and narrative strat- egies must accomplish what the presence of the adult actor does in other scenes ...
... actor alone on stage is to relinquish the difference on which his feminization partly depends . At such moments , poetic , rhetorical , and narrative strat- egies must accomplish what the presence of the adult actor does in other scenes ...
Page 64
... actors and their appro- priation of the " grace , / Voice , gait , and action of a gentlewoman " -to borrow a definition of the actor's task from the job assigned the Page in the Induction to The Taming of the Shrew ( Ind . , Il . 131 ...
... actors and their appro- priation of the " grace , / Voice , gait , and action of a gentlewoman " -to borrow a definition of the actor's task from the job assigned the Page in the Induction to The Taming of the Shrew ( Ind . , Il . 131 ...
Contents
Gender Identity | 1 |
The Merchant of Venice | 105 |
Sonnets | 220 |
Copyright | |
1 other sections not shown
Other editions - View all
Common terms and phrases
action actor Antonio appears argues audience Bassanio become begins bond calls castration characters choice Christian circumcision claims Cleopatra comedies comic conventional course critics daughter death describes desire discussion disguise Elizabethan essay example exchange father fear feel female feminine figure final flesh gender give hand heart hero heroines human husband identity interest John kind Lady less lines live London look lover Macbeth male marriage masculine means Merchant of Venice moral mother nature never offers person play plot poems political Portia possible present Press reading refer relations relationship rhetorical ring role Rosalind says scene seems sense sexual Shake Shakespeare Shylock social sonnets speak speech spirit stage suggests tell thing thou tion tragedy true turn University wife woman women York young