The Masks of HamletUniversity of Delaware Press, 1992 - 971 pages In this work, Rosenberg insists again and again that only the individual reader or actor can determine Shakespeare's design of Hamlet's character -- and of the play. To interpret Hamlet's words and actions at the many crises, the reader needs to double in the role of actor, imagining the character from the inside and observing from the outside. Winner of the Theatre Library Association Award for 1993. |
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Page 347
... question of You hear this fellow in the cellarage ? In a world of so many questions , to keep his sanity , Hamlet needs to know if only he is hearing the impossible . However , if the others take off their hats , as in one staging ; or ...
... question of You hear this fellow in the cellarage ? In a world of so many questions , to keep his sanity , Hamlet needs to know if only he is hearing the impossible . However , if the others take off their hats , as in one staging ; or ...
Page 664
... question " of the million , " or ask himself . “ The convulsed motion of his frame . . . and the com- plication of distress , anger and gratified revenge , with the belief the king had fallen a proper sacrifice to his villainy . " Most ...
... question " of the million , " or ask himself . “ The convulsed motion of his frame . . . and the com- plication of distress , anger and gratified revenge , with the belief the king had fallen a proper sacrifice to his villainy . " Most ...
Page 779
... question personally - does her hand go to the miniature around her neck ? Which is her true love ? Did she know Claudius , about whom she has recently discovered so much ? How do we know anybody ? Ophelia's songs often have this cryptic ...
... question personally - does her hand go to the miniature around her neck ? Which is her true love ? Did she know Claudius , about whom she has recently discovered so much ? How do we know anybody ? Ophelia's songs often have this cryptic ...
Contents
Act I Scene i Part | 1 |
Act I Scene ii Part | 82 |
Hamlet Part | 105 |
Copyright | |
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action actor appearance arms asks audience become begins believe bitter body Booth break called carried character Claudius close comes court dangerous death deep directed effect emotional entered evidently eyes face father fear feel felt final follow force friends Gertrude Gertrude's gesture Ghost Gielgud give Hamlet hand head hear heard heart held hold Horatio imagined intense kill kind King Laertes later leave look mean mind moment mother moved murder nature never objective observed once Ophelia passion perhaps physical play Player Polonius Prince Queen question reflected revenge rising role scene seems seen sense sexual Shakespeare shock soliloquy sometimes soul sound speak speech spoke stage suddenly suggests sweet sword tears tell tenderness theatre thing thought touch tried trying turned usually voice whole young