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Download e-book for iPad: A Companion to Shakespeare and Performance by Barbara Hodgdon, W. B. Worthen

By Barbara Hodgdon, W. B. Worthen

ISBN-10: 1405111046

ISBN-13: 9781405111041

ISBN-10: 1405150238

ISBN-13: 9781405150231

ISBN-10: 1405188219

ISBN-13: 9781405188210

A significant other to Shakespeare and function offers a state of the art engagement with the swiftly constructing box of Shakespeare functionality reports.

  • Redraws the bounds of Shakespeare functionality experiences.
  • Considers functionality in a variety of media, together with in print, within the school room, within the theatre, in movie, on tv and video, in multimedia and electronic types.
  • Introduces vital phrases and modern parts of enquiry in Shakespeare and function.
  • Raises questions about the dynamic interaction among Shakespearean writing and the practices of latest functionality and function reviews.
  • Written by way of a world staff of significant students, academics, theatre makers.

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A love that makes breath poor and speech unable; Beyond all manner of so much I love you. 54–7, 59–60) Goneril touches here on the entwined relationship between space, liberty, and vision central to the drama of love that the rest of the play examines. She links her love to something ‘‘beyond’’ value, a beyond that Freud associated with repetition and the death drive. As Regan repeats her sister’s speech and sentiment, ‘‘I am made of that self metal as my sister / And prize me at her worth. In my true heart / I find she names my very deed of love,’’ they set off a process of merging that makes it increasingly difficult to differentiate them by the end of the play when, desiring the same man, they die together in suicidal pursuit of him.

While the play basically pursues a kind of descending route from interior, built space to the natural hovel of the outside shelter, much along the model described by Vitruvius, there are complications. One of the most crucial scenes in the play occurs when Lear discovers Kent in the stocks. The stocks are a kind of architectural outline of the prison (or the Tower). As a trace, they outline a more foreboding architecture of confinement. But in their starkness, they represent the capricious power of law.

Pauline Kiernan describes the situation this way: [T]he fixed physical structure and architectural characteristics of the stage . . present limitations to staging and blocking, but also offer effective dramaturgical possibilities. A central opening, flanked by two entry doors, demands to be used not only for exit and entrance, but for concealment of eavesdropping and for discovery. 2005 11:18pm King Lear and Theatre Architecture 21 audience can see what is being staged within the discovery spaces, but if characters on stage are describing what they are seeing there, the whole house can listen and find out.

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A Companion to Shakespeare and Performance by Barbara Hodgdon, W. B. Worthen

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