 I'll leave you till night: you are welcome to Elsinore. Ros. Good my lord ! [Exeunt Rosencrantz and Guildenstern. Ham. Ay, so, God be wi' you : — Now I am alone. O, what a rogue and peasant slave am I ! Is it not monstrous, that this player here, But...  The Artist on the Artistpor Harry Guest - 2000 - 462 páginasSin vista previa disponible - Acerca de este libro
 | K. H. Anthol - 2003 - 344 páginas
...Guildenstern.] Ham. Ay, so, God buy ye. — Now I am alone. O, what a rogue and peasant slave am I! 576 Is it not monstrous that this player here, But in...[own] conceit That from her working all his visage [wann'd], 580 Tears, in his eyes, distraction in 's aspect, A broken voice, and his whole function... | |
 | David Lee Miller - 2003 - 268 páginas
...go backward." Later in the same scene Hamlet marvels at the transformative powers of make-believe: Is it not monstrous that this player here, But in...his own conceit That from her working all his visage wann'd, Tears in his eyes, distraction in his aspect, A broken voice, an' his whole function suiting... | |
 | Andy Lavender - 2003 - 292 páginas
...putting on make-up, should segue into Hamlet's soliloquy following the Player's impromptu performance ('Is it not monstrous that this player here, / But in a fiction ...'). Darling runs this scene three times. Each time Lepage augments. The first time through, Darling... | |
 | Ralph Twentyman - 2004 - 136 páginas
...results? Shakespeare's Hamlet certainly found that this was so: O, what a rogue and peasant slave am I! Is it not monstrous that this player here, But in...his own conceit That from her working all his visage wann'd; Tears in his eyes, distraction in's aspect, A broken voice, and his whole function suiting... | |
 | Heinrich F. Plett - 2004 - 600 páginas
...After the rehearsal has taken place, Hamlet explains why the first player's performance was so perfect: Is it not monstrous that this player here, But in...his own conceit That from her working all his visage wann'd, Tears in his eyes, distraction in his aspect, A broken voice, and his whole function suiting... | |
 | Kathy Elgin - 2005 - 40 páginas
...in this way. In the floor of the stage was a trap-door, through which devils or ghosts could appear. Is it not monstrous that this player here, But in...his own conceit That from her working all his visage wann'd. HAMLET, ACT 2, SCENE 2 but: only concert: thing he was imagining visage: face wann'd: went... | |
 | John Gibson, Wolfgang Huemer - 2004 - 372 páginas
...artor's histrionic intensity and his own culpable passivity: O, what a rogue and peasant slave am I! Is it not monstrous that this player here, But in...a dream of passion, Could force his soul so to his whole conceit That from her working a1l his visage wanned, Tears in his eyes, distrartion in 's aspect,... | |
 | Salvo Pitruzzella - 2004 - 212 páginas
...merits particular attention, and will be further explored in the next section. ACTOR AND CHARACTER Is it not monstrous that this player here, But in...a dream of passion. Could force his soul so to his whole conceit That from her working all his visage wanned, Tears in his eyes, distraction in's aspect,... | |
 | Alan Shepard, Stephen David Powell Powell - 2004 - 324 páginas
...the players recites a speech for him, play the drama critic: O, what a rogue and peasant slave am I! Is it not monstrous that this player here, But in...a dream of passion, Could force his soul so to his whole conceit That from her working all his visage wanned. Tears in his eyes, distraction in 's aspect,... | |
 | Salvo Pitruzzella - 2004 - 216 páginas
...merits particular attention, and will be further explored in the next section. ACTOR AND CHARACTER Is it not monstrous that this player here, But in...a dream of passion. Could force his soul so to his whole conceit That from her working all his visage wanned. Tears in his eyes, distraction in's aspect,... | |
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