Antony and Cleopatra on the English StageFairleigh Dickinson University Press, 1980 - 241 頁 |
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第 1 到 3 筆結果,共 27 筆
第 105 頁
... designer might turn for inspiration to surviving designs for the Court Masques . Not only the line of “ Cut my lace , Charmian ” ( I.iii.71 ) but also much of the texture of the play suggest that some adaptation of Elizabethan ...
... designer might turn for inspiration to surviving designs for the Court Masques . Not only the line of “ Cut my lace , Charmian ” ( I.iii.71 ) but also much of the texture of the play suggest that some adaptation of Elizabethan ...
第 196 頁
... Design in Great Britain , p . 102 . 9. Rosenfeld , A Short History of Scene Design in Great Britain , pp . 97-100 . 10. Kemble gave his Coriolanus Imperial rather than Republican Roman settings because he thought that audiences might ...
... Design in Great Britain , p . 102 . 9. Rosenfeld , A Short History of Scene Design in Great Britain , pp . 97-100 . 10. Kemble gave his Coriolanus Imperial rather than Republican Roman settings because he thought that audiences might ...
第 198 頁
... Design in Great Britain , p . 108 . 46. See , for example , Stanfield's design for Agincourt in Henry V , in ibid . , plate 26 , 108 . 47. Athenaeum , 23 November 1833 . 48. 24 November 1833 . 49. Ibid . 50. 22 November 1833 . 51 ...
... Design in Great Britain , p . 108 . 46. See , for example , Stanfield's design for Agincourt in Henry V , in ibid . , plate 26 , 108 . 47. Athenaeum , 23 November 1833 . 48. 24 November 1833 . 49. Ibid . 50. 22 November 1833 . 51 ...
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