Othello and Interpretive TraditionsUniversity of Iowa Press, 1. 8. 1999 - Počet stran: 272 During the past twenty years or so, Othello has become the Shakespearean tragedy that speaks most powerfully to our contemporary concerns. Focusing on race and gender (and on class, ethnicity, sexuality, and nationality), the play talks about what audiences want to talk about. Yet at the same time, as refracted through Iago, it forces us to hear what we do not want to hear; like the characters in the play, we become trapped in our own prejudicial malice and guilt. |
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Strana 26
... Booth , among others , at a time when the star system made sure that leading actors concentrated their efforts on leading parts . The role - swapping arrangements get at the same point ( Macready and Charles Mayne Young in 1816 , Irving ...
... Booth , among others , at a time when the star system made sure that leading actors concentrated their efforts on leading parts . The role - swapping arrangements get at the same point ( Macready and Charles Mayne Young in 1816 , Irving ...
Strana 57
... Booth's voice , manner , and whole personality were when he said , " There's matter in't indeed , if he be angry ! " The duplicity of the character , when vis- ible in association with others , was made evident to the audience by the ...
... Booth's voice , manner , and whole personality were when he said , " There's matter in't indeed , if he be angry ! " The duplicity of the character , when vis- ible in association with others , was made evident to the audience by the ...
Strana 96
... Booth's empha- sis , the phrase represents not just Iago's risky frankness but Desdemona's erotic energy as well ... Booth performance , this time Edwin's , discovers an arresting physical gesture to embody the idea . At the line " And ...
... Booth's empha- sis , the phrase represents not just Iago's risky frankness but Desdemona's erotic energy as well ... Booth performance , this time Edwin's , discovers an arresting physical gesture to embody the idea . At the line " And ...
Obsah
Introduction Othello and Interpretive Traditions | 1 |
Othello in Theatrical and Critical History | 11 |
Disconfirmation | 30 |
Autorská práva | |
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acknowledge Actors anxiety audience Bamber Gascoigne beginning belief Bianca Bob Hoskins Booth Brabantio Bradley Bradley's Cambridge University Press Carlisle Cassio century character claim Coleridge Coleridge's commentary contemporary context critical cultural Cyprus demona Desdemona desire devil earlier echoes Edwin Booth effect Emilia emphasis Empson essay evoke Fechter feel gender Hamlet Hankey Honigmann Iago Iago's idea identity imagination interest interpretive traditions King Lear lago Lear Leavis literary London marriage meaning Michael Neill modern Moor murder nature Neill Newman nineteenth nineteenth-century nonetheless norms original Othello Othello and Desdemona passage Patrick Stewart performance perhaps pharmakos play play's production protagonist question quoted racial Ralph Crane remarks Renaissance response Ridley Roderigo role Rymer says seems sense sexual Shakespeare Shakespearean Tragedy soliloquy speak speech Sprague stage suggests Temptation Scene textual Theatre theatrical thing tion tragic Tynan Venetian villain whore women words York