Henry VI, Part 1Penguin, 2018 M04 10 - 176 páginas The acclaimed Pelican Shakespeare series edited by A. R. Braunmuller and Stephen Orgel The legendary Pelican Shakespeare series features authoritative and meticulously researched texts paired with scholarship by renowned Shakespeareans. Each book includes an essay on the theatrical world of Shakespeare’s time, an introduction to the individual play, and a detailed note on the text used. Updated by general editors Stephen Orgel and A. R. Braunmuller, these easy-to-read editions incorporate over thirty years of Shakespeare scholarship undertaken since the original series, edited by Alfred Harbage, appeared between 1956 and 1967. With definitive texts and illuminating essays, the Pelican Shakespeare will remain a valued resource for students, teachers, and theater professionals for many years to come. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,800 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. |
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... Permanent theaters were first built at this time as well, allowing the companies to control and charge for entry to their performances. Shakespeare's livelihood, and the stunning artistic explosion in which he The Theatrical World.
... Permanent theaters were first built at this time as well, allowing the companies to control and charge for entry to their performances. Shakespeare's livelihood, and the stunning artistic explosion in which he The Theatrical World.
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... performances began between noon and two o'clock and ran without a break for two or three hours. They often concluded with a jig, a fencing display, or some other nondramatic exhibition. Weather conditions determined the season for the ...
... performances began between noon and two o'clock and ran without a break for two or three hours. They often concluded with a jig, a fencing display, or some other nondramatic exhibition. Weather conditions determined the season for the ...
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... performances. For two relatively brief spans, from the late 1570s to 1590 and from 1599 to 1614, the amphitheaters competed with the so-called private, or indoor, theaters, which originated as, or later represented themselves as ...
... performances. For two relatively brief spans, from the late 1570s to 1590 and from 1599 to 1614, the amphitheaters competed with the so-called private, or indoor, theaters, which originated as, or later represented themselves as ...
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... performance. In the early modern “private” theater, musical performances apparently filled the intermissions, which in Stuart theater jargon seem to have been called “acts.” At the end of the first decade of the seventeenth century, the ...
... performance. In the early modern “private” theater, musical performances apparently filled the intermissions, which in Stuart theater jargon seem to have been called “acts.” At the end of the first decade of the seventeenth century, the ...
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... performances were in fact rehearsals for private performances before that high court official. From 1598, the Privy Council had licensed theatrical companies, and after 1603, with the accession of King James I, the companies gained ...
... performances were in fact rehearsals for private performances before that high court official. From 1598, the Privy Council had licensed theatrical companies, and after 1603, with the accession of King James I, the companies gained ...
Términos y frases comunes
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