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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... contemporary scholars , as this collection attests . Each essay uses the textual provenance of the quartos and the folio for different ends . Scholars of Hamlet like ( Continued on back flap ) in Hamlet New Essays and New Directions ...
... contemporary scholars , as this collection attests . Each essay uses the textual provenance of the quartos and the folio for different ends . Scholars of Hamlet like ( Continued on back flap ) in Hamlet New Essays and New Directions ...
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... contemporary playwrights have for too long given scant attention to the stage directions that are inscribed within characters ' speeches or within unobtrusive conventions that are seldom interrogated or critically unpacked . For ...
... contemporary playwrights have for too long given scant attention to the stage directions that are inscribed within characters ' speeches or within unobtrusive conventions that are seldom interrogated or critically unpacked . For ...
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... contemporary scholars , as this collection attests . The arrangement of the essays in this volume reflects the dynamic exchanges generated by the topic of stage directions in Hamlet . Each essay uses the textual provenance of the ...
... contemporary scholars , as this collection attests . The arrangement of the essays in this volume reflects the dynamic exchanges generated by the topic of stage directions in Hamlet . Each essay uses the textual provenance of the ...
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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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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
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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.