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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Page 10
... original texts of Hamlet ( Ql , Q2 , F1 ) and their implications for reading and staging Shakespeare's play , the assembled essays frequently engage the stage directions and their impact for modern productions . In this collection ...
... original texts of Hamlet ( Ql , Q2 , F1 ) and their implications for reading and staging Shakespeare's play , the assembled essays frequently engage the stage directions and their impact for modern productions . In this collection ...
Page 12
... original quartos and folios , to early edited texts such as those by Rowe , Theobald , and Capell and to early players ' quartos and performance editions , Kliman unpacks the implications of commas , parentheses , and dashes for ...
... original quartos and folios , to early edited texts such as those by Rowe , Theobald , and Capell and to early players ' quartos and performance editions , Kliman unpacks the implications of commas , parentheses , and dashes for ...
Page 13
... original stage direction and excavates the logical staging opportunities of each of the three versions of the play . Meagher's conclusion is that Shakespearean intent can be discerned by a meticulous attention to the stage direction ...
... original stage direction and excavates the logical staging opportunities of each of the three versions of the play . Meagher's conclusion is that Shakespearean intent can be discerned by a meticulous attention to the stage direction ...
Page 19
... original texts — we want our readers to have value for their money and be able to identify the nature of , and the differences between , the SDs in each of Ql , Q2 , and F — and ( b ) the need to introduce a degree of uniformity across ...
... original texts — we want our readers to have value for their money and be able to identify the nature of , and the differences between , the SDs in each of Ql , Q2 , and F — and ( b ) the need to introduce a degree of uniformity across ...
Page 27
... original editions — the First Quarto , the Second Quarto , and the Folio — fail to indicate act , or even scene , divisions , we are under no obligation to perpetuate the blunder of a later edition.21 He argues that the time - sequence ...
... original editions — the First Quarto , the Second Quarto , and the Folio — fail to indicate act , or even scene , divisions , we are under no obligation to perpetuate the blunder of a later edition.21 He argues that the time - sequence ...
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
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.