Stage Directions in Hamlet: New Essays and New DirectionsHardin L. Aasand Fairleigh Dickinson Univ Press, 2003 - 234 pages The subject of stage directions in 'Hamlet', those brief semiotic codes that are embellished by historical, theatrical, and cultural considerations, produces a rigorous examination in the fifteen essays contained in this collection. This volume encompasses essays that are guardedly inductive in their critical approaches, as well as those that critique modern productions that attempt to achieve Shakespearean effect through a modern aesthetic. The volume also includes essays that enunciate the production of stage business as a cultural interplay between productions and social agencies outside the theater. |
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Results 1-5 of 36
Page 12
... begins with David Brailow's careful analysis of the stage direction and its embodiment in theatrical practice . Considering the spectral appearance and disappearance of the Ghost in 1.2 and the contradictory stage directions in the ...
... begins with David Brailow's careful analysis of the stage direction and its embodiment in theatrical practice . Considering the spectral appearance and disappearance of the Ghost in 1.2 and the contradictory stage directions in the ...
Page 25
... begin a new act " ( [ The Shakespeare First Folio ] , 1955 , 333 ) . The action is continuous , the Queen remaining ... begins and ends with an empty stage . This entails one of the fundamental conventions of dramatic construction , the ...
... begin a new act " ( [ The Shakespeare First Folio ] , 1955 , 333 ) . The action is continuous , the Queen remaining ... begins and ends with an empty stage . This entails one of the fundamental conventions of dramatic construction , the ...
Page 26
... begins a new scene , 3.5 , at this point in the twenty - volume Harvard edition of 1880 , and comments in his endnotes : Modern editors , generally , make the fourth Act begin here . None of the old copies have any marking of the Acts ...
... begins a new scene , 3.5 , at this point in the twenty - volume Harvard edition of 1880 , and comments in his endnotes : Modern editors , generally , make the fourth Act begin here . None of the old copies have any marking of the Acts ...
Page 27
... begins act 4 at the opening of the traditional 4.5 : " Enter Horatio , Gertrard , and a Gentleman , " commenting on the opening of his 3.5 , In modern reprints of the play , this scene is regularly made to open Act IV . But since all ...
... begins act 4 at the opening of the traditional 4.5 : " Enter Horatio , Gertrard , and a Gentleman , " commenting on the opening of his 3.5 , In modern reprints of the play , this scene is regularly made to open Act IV . But since all ...
Page 30
... begins . Once we override the traditional 3.4 / 4.1 division , it seems clear that 3.4 continues until the exeunt of the King and Queen after his couplet " O come away , / My soul is full of discord and dismay , " which is the end of ...
... begins . Once we override the traditional 3.4 / 4.1 division , it seems clear that 3.4 continues until the exeunt of the King and Queen after his couplet " O come away , / My soul is full of discord and dismay , " which is the end of ...
Contents
19 | |
Entrances in the Ophelia Sequence of Hamlet | 33 |
Exit by Indirection Finding Directions Out | 42 |
Hamlets Stage Directions to the Players | 47 |
Explicit Stage Directions Especially Graphics in Hamlet | 74 |
The Case against Tidiness | 92 |
Tis heere Tis gone The Ghost in the Text | 101 |
To Soliloquize or Not to Soliloquize Hamlets To be Speech in Q1 and Q2F | 115 |
The Stage Directions Overt and Covert of Hamlet 51 | 140 |
Interpolations Extended Scenes and Musical Accompaniment in Kenneth Branaghs Hamlet | 161 |
Properties and Stage Business in Hamlet 34 | 170 |
Visual Representations of the Graveyard Scene in Hamlet | 189 |
Hamlet Yorick and the Chopless Stage Direction | 214 |
Afterword | 226 |
Contributors | 228 |
231 | |
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Common terms and phrases
Aasand action actors appearance Arden audience Branagh Cambridge Capell characters Charles Fechter Chicago Shakespeare Theater Claudius Claudius's closet scene Clown commas contemporary Corambis critical Delacroix director dramatic early exits early texts edition editors effect Elizabethan engraving entrance essays father film Folger Shakespeare Library Folio Fortinbras Gertrude Gertrude's gesture Ghost grave Gravedigger graveyard scene groundlings Hamlet hand holding Yorick's skull Horatio illustration imagine indicate interpretation interrupted Jenkins John John Dover Wilson Kenneth Branagh King King's Kliman Laertes later lithographs London Lord madness Marcellus miniatures modern noise Ophelia Osric Oxford performance photograph picture play players Polonius Polonius's production promptbook punctuation Queen question readers reading Renaissance role Rosencrantz and Guildenstern says Second Quarto soliloquy speak speech spies stage business stage directions stage practice suggests textual theater theatrical traditional University Press visual wall portraits William Shakespeare Wilson Wilson Barrett words York
Popular passages
Page 28 - To assume a pleasing shape; yea, and perhaps Out of my weakness and my melancholy, As he is very potent with such spirits, Abuses me to damn me. I'll have grounds More relative than this: the play's the thing Wherein I'll catch the conscience of the king.