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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... thought ; Sprague , Shakespearian Players , 73 ) , and he thought the lighter color helped audiences to see what he was doing , especially difficult in the huge buildings where he performed . Kean's innovation profoundly changed ...
... thought ; Sprague , Shakespearian Players , 73 ) , and he thought the lighter color helped audiences to see what he was doing , especially difficult in the huge buildings where he performed . Kean's innovation profoundly changed ...
Strana 80
... thought so : " the top scene , " ac- cording to Rymer's contemporaries , " the Scene that raises Othello above all other Tragedies on our Theatres " ( Rymer , 149 ) . Garrick thought it was the " single finest scene " in all of ...
... thought so : " the top scene , " ac- cording to Rymer's contemporaries , " the Scene that raises Othello above all other Tragedies on our Theatres " ( Rymer , 149 ) . Garrick thought it was the " single finest scene " in all of ...
Strana 202
... thought . His face is bestial , it is his real face , the mask removed . ( 72 ) A pause indeed ! It should be noted that Stanislavski was very eager to avoid the scene - changing intervals of earlier theatrical practice , which he thought ...
... thought . His face is bestial , it is his real face , the mask removed . ( 72 ) A pause indeed ! It should be noted that Stanislavski was very eager to avoid the scene - changing intervals of earlier theatrical practice , which he thought ...
Obsah
Introduction Othello and Interpretive Traditions | 1 |
Othello in Theatrical and Critical History | 11 |
Disconfirmation | 30 |
Autorská práva | |
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