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 115
... never tedious , is never unintelligible , is never stupid . . . . Irving is Irving , and is only great because he is himself . He is incomplete , and fails to impose himself bodily upon his critics , but he is himself . The sweet ...
... never tedious , is never unintelligible , is never stupid . . . . Irving is Irving , and is only great because he is himself . He is incomplete , and fails to impose himself bodily upon his critics , but he is himself . The sweet ...
Page 120
... never seeking to nobilify , never under - stressing the quick bitterness and brutality of this crawler between heaven and earth . The sooner we get away from the tradition that Hamlet was a charming young fellow in unfortunate circum ...
... never seeking to nobilify , never under - stressing the quick bitterness and brutality of this crawler between heaven and earth . The sooner we get away from the tradition that Hamlet was a charming young fellow in unfortunate circum ...
Page 505
... never gave you aught . Apologists for Hamlet find symbolic meanings : " I never gave you ... " — I am a dif- ferent man ; or " I never gave you . . . ” -not to the small - souled girl ( even the traitor- bitch ) you have become ; the ...
... never gave you aught . Apologists for Hamlet find symbolic meanings : " I never gave you ... " — I am a dif- ferent man ; or " I never gave you . . . ” -not to the small - souled girl ( even the traitor- bitch ) you have become ; the ...
Contents
Act I Scene i Part | 1 |
Gertrude | 10 |
Act I Scene ii Part | 36 |
Copyright | |
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action actor actor-reader Alan Howard antic arms arras asks audience begins Booth Burton character Charles Kean Charles Kemble Claudius court courtiers dangerous death Denmark Dover Wilson emotional eyes face father fear Fechter feel felt fierce Fortinbras G. B. Shaw Garrick Gertrude Gertrude's gesture Ghost Gielgud grief hand head Horatio impulse Irving Jacobi Kachalov Kainz Kean Kemble kill kind King King's kiss Laertes later laugh lonius look Marcellus mask McKellen's mood mother Mousetrap moved murder mystery observed Olivier Ophelia passion pause perhaps physical play Player Polonius polyphony power Hamlet Prince Queen revenge role Rosencrantz and Guildenstern scene seems seen sense sexual Shakespeare shock soliloquy sometimes Sothern soul sound speak speech spies spoke stage subtext suddenly suggests sweet Hamlet sword tears tenderness theatre thought tone touch tried trying turned usually violence voice whisper Wittenberg words young