By Michael Goldman
This intensely own publication develops a brand new method of the learn of motion in drama. Michael Goldman eloquently applies a style in keeping with an important truth: our adventure of a play within the theater is nearly solely our event of acting.
Originally released in 1985.
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Additional info for Acting and action in Shakespearean tragedy
Tis a consummation Devoutly to be wished. To die, to sleep— To sleep—perchance to dream: ay, there's the rub, For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause. There's the respect That makes calamity of so long life: For who would bear the whips and scorns of time, Th'oppressor's wrong, the proud man's contumely, The pangs of despised love, the law's delay, The insolence of office, and the spurns That patient merit of th'unworthy takes, "To Be or Not To Be" When he himself might his quietus make With a bare bodkin?
One, which I am emphasizing in this essay, is the in sistence on how difficult it can be to analyze action into its components, to grasp it as a process. The other is to make us sensitive to the difficulties involved in attaching a clear inter pretation to human action. Our awareness of the spectrum is related to our own efforts to interpret the action of the play, a particularly complicated one, with its indirections, wind lasses, and assays of bias. We struggle to discern among the countless occurrences on stage a single informing manifesta tion of the spirit, that is, to make a unified action out of the activity we see.
And readers are tempted to look for it—irresistibly drawn in most cases—because of the action of the play. The issue of Iago's instigation is so compelling, the spectacle of what he does to Othello so fas cinating and appalling, the mystery of how jealousy gets planted in the mind so central and disturbing, and the scene itself so Othello's Cause cunning and convincing, that one is drawn to pore over these passages, combing them for the very instant of malignant transfer. That there need be no single point—because minds may not behave that way—is no matter.
Acting and action in Shakespearean tragedy by Michael Goldman