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. |
From inside the book
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Page 9
... performance - oriented critics who attempt to decode the theatrical semi- otics , at play directors who design and construct modern embodiments of the texts , at the historical / historicist scholars of the Renaissance stage who ...
... performance - oriented critics who attempt to decode the theatrical semi- otics , at play directors who design and construct modern embodiments of the texts , at the historical / historicist scholars of the Renaissance stage who ...
Page 12
... performance editions , Kliman unpacks the implications of commas , parentheses , and dashes for conveying the dramatic tone , deictic intent , and emotional ambiance of selected scenes . For Kliman , modern editors are always engaged in ...
... performance editions , Kliman unpacks the implications of commas , parentheses , and dashes for conveying the dramatic tone , deictic intent , and emotional ambiance of selected scenes . For Kliman , modern editors are always engaged in ...
Page 14
... Performance , and the Editors : Staging Shakespeare's Drama , " SQ 51 ( 2000 ) : 456-73 . Kidnie , using Roman Ingarden's terminology , represents stage directions as one component of the nebentext , ancillary elements that distinguish ...
... Performance , and the Editors : Staging Shakespeare's Drama , " SQ 51 ( 2000 ) : 456-73 . Kidnie , using Roman Ingarden's terminology , represents stage directions as one component of the nebentext , ancillary elements that distinguish ...
Page 21
... performance , details of which are sometimes obscured by an SD in one or more of the texts we have inherited . We decided instead that consistency would be better served if we were true to the spirit of our decision to treat each of Q1 ...
... performance , details of which are sometimes obscured by an SD in one or more of the texts we have inherited . We decided instead that consistency would be better served if we were true to the spirit of our decision to treat each of Q1 ...
Page 26
... performances at the time when Hamlet was first performed . Changing theatrical practice meant , however , that they would probably have been imposed on Jacobean and Caroline revivals of the play , well before their appearance in print ...
... performances at the time when Hamlet was first performed . Changing theatrical practice meant , however , that they would probably have been imposed on Jacobean and Caroline revivals of the play , well before their appearance in print ...
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.