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Word: cleopatras (lookup in dictionary) (lookup stats)
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...students in Humanities 105 have decided to cancel the remaining performances of ANTONY AND CLEOPATRA and A WINTER'S TALE...

Author: By M. CHRIS Rochester, | Title: Antony and Cleopatra and Others | 5/7/1970 | See Source »

...would like to approach Antony and Cleopatra as a heroic drama written within a particular tradition, in order to encourage thought about the theme of honor, and to urge attendance at the Loeb production. Perhaps all of this will show how it is more than a "theme," but the deepest of all deep claims on trembling men, which by now must include most...

Author: By M. CHRIS Rochester, | Title: Antony and Cleopatra and Others | 5/7/1970 | See Source »

...play treats the imerrelation of honor and love, in their transform action from reputation and sexual infatuation to a gidly vision of higher honor through self-forgetful love, Both Antony and Cleopatra are heroes, rulers, and lowers. They live in the world of policy, but they envision a world of gods. The tragedy is that reputation and love are irreconcilable in the world. To ask for honor is to ask for death. This is the hero's fate. To ask for love is to ask for life in another worid. Troilus and Cressida -a bitter, earlier, centrifugal labor-examined whether...

Author: By Chris Rochester, | Title: The Theatregoer Antony and Cleopatra at the Loeb through May 9 | 5/2/1970 | See Source »

...first speeches of Samson Agonistes. Volume is not anger, humiliation, or passion. The voice of beauty is quiet, intense. Mr. Snyder delivered a surfeit of apostrophes, read too many end-stopped lines, and tended to pause too long on the caesturas. But Miss Yakutis perfectly captured Cleopatra's shock at her power to lead Antony to desert and thus betray himself in this scene. It is the moment of deepest learning on her part...

Author: By Chris Rochester, | Title: The Theatregoer Antony and Cleopatra at the Loeb through May 9 | 5/2/1970 | See Source »

Snyder also badly misjudged the end of Act III, by eradicating Antony's joy in his ironic recovery, which is really his moral devolution. The Antony of this production seemed incapable of lyric relaxation, of case, forgiveness, vision, and music. The Cleopatra is too often the shallow playacting little girl or the burning termagant. The secret of Cleopatra is that she is always capable of her speeches at the close of Acts IV and V. She must always act in the intuition that her honor and her safety are irreconcilable, that a race of heaven is a death on earth...

Author: By Chris Rochester, | Title: The Theatregoer Antony and Cleopatra at the Loeb through May 9 | 5/2/1970 | See Source »

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