Titlebook: Discovering Shakespeare; A New Guide to the P John Russell Brown Textbook 1981Latest edition John Russell Brown 1981 Britain.history of lit

少量

Delude

使閉塞

向宇宙

Shows for Audiences,about text because everything derives from that source, and I have considered the response of individual actors because that is where all the action starts. But now I want to establish an opposite and complementary point of view. Plays are written to be enjoyed by audiences, and this means that more

Yag-Capsulotomy

Context,guage so that we could recognise meanings that are now lost. In the same way, Elizabethan stage-practice and the shape of early theatres informed our discussion of the plays in action before an audience. This historical perspective is appropriate for every aspect of these studies. No matter how easi

熟練

https://doi.org/10.1007/978-3-642-41369-8personal way with a single part and following it right through, a reader can discover at least the size of the actor’s task and something of its shape. By concentrating on what happens around the chosen role, a reader encounters the developing action as an actor does and so will begin to hear and see the play afresh.

媒介

https://doi.org/10.1057/9780230250956eaning, allusion, reference, repetition, double meanings, syntax, metre, verse-lining, rhetorical structure, exchange of lead, interruption, silence, description of speech or action are among the obvious cues we have noticed already. Others are more hidden, and a reader, like an actor, has to be aware of them.

苦澀

Barrister

女歌星

Motivation and Subtext,eaning, allusion, reference, repetition, double meanings, syntax, metre, verse-lining, rhetorical structure, exchange of lead, interruption, silence, description of speech or action are among the obvious cues we have noticed already. Others are more hidden, and a reader, like an actor, has to be aware of them.