King LearInsight Publications, 2011 - 224 pages Even the most resolutely disengaged students can finally 'discover' and thrill to the rhythms and passions of Shakespeare's plays! Award-winning teachers and Shakespearean scholars have extensively trialled their approach to teaching Shakespeare's plays in the classroom, and this series is the result! The plays in this series are becoming increasingly popular for student resources in schools as English and Drama teachers discover their fabulous teaching and learning qualities. |
From inside the book
Results 1-5 of 35
Page 3
... was also a time of great achievement in the arts . At the centre were the English theatres , attracting audiences of around 20 000 per week . When James came to power, Shakespeare had already written many. William Shakespeare's King Lear 3.
... was also a time of great achievement in the arts . At the centre were the English theatres , attracting audiences of around 20 000 per week . When James came to power, Shakespeare had already written many. William Shakespeare's King Lear 3.
Page 7
... audience . These are the most expensive seats in the house , where people sit to be seen . The Globe is now almost full with 3000 noisy people . You find a place off to the side of the stage . You'll have to stand for two or three hours ...
... audience . These are the most expensive seats in the house , where people sit to be seen . The Globe is now almost full with 3000 noisy people . You find a place off to the side of the stage . You'll have to stand for two or three hours ...
Page 8
... audiences before this time, possibly as early as 1603. Since the play is associated so strongly with Shakespeare, it ... audience was the intriguing fact that Cornwall and Albany, who in the play are the husbands of Regan and Gonerill ...
... audiences before this time, possibly as early as 1603. Since the play is associated so strongly with Shakespeare, it ... audience was the intriguing fact that Cornwall and Albany, who in the play are the husbands of Regan and Gonerill ...
Page 9
... audience . Shakespeare adapted the tale from a story in Sir Philip Sidney's romance , Arcadia , which appeared in 1590. At the same time , for Edgar's language in the part of Tom o ' Bedlam , Shakespeare drew extensively on Samuel ...
... audience . Shakespeare adapted the tale from a story in Sir Philip Sidney's romance , Arcadia , which appeared in 1590. At the same time , for Edgar's language in the part of Tom o ' Bedlam , Shakespeare drew extensively on Samuel ...
Page 13
... audience that they could fidget a little. It might also have been a cue to the actors that they were soon due on stage for the next scene. More importantly, a rhyming couplet makes a point memorable, setting it apart from the rest of ...
... audience that they could fidget a little. It might also have been a cue to the actors that they were soon due on stage for the next scene. More importantly, a rhyming couplet makes a point memorable, setting it apart from the rest of ...
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Common terms and phrases
Act 1 Scene Alack ALBANY audience Bedlam beggars blinding Burgundy characters Child Rowland complete the table contrast Copy and complete CORDELIA KING LEAR CORNWALL daughters death dost dramatic irony Duke Duke of Cornwall Earl of Gloucester EDGAR GLOUCESTER EDGAR emphasise enters Exit eyes father FOOL KING LEAR Fortune France GENTLEMAN give GLOUCESTER EDGAR GLOUCESTER Gloucester's gods Gonerill and Regan Gonerill's hast hath hear heart iambic pentameter iambs imagery Jacobean James justice KENT KING LEAR Kent’s KING LEAR FOOL KING LEAR KENT kingdom Kingdom of Britain knave language Lear and Cordelia Lear's letter lines look Lord Lord Chamberlain's Men Madam means messenger nature night Nuncle Nunn nutshell OSWALD KENT paraphrase might read pathetic fallacy Peter Brook play play’s poor Prithee Questions REGAN GONERILL servant sister soliloquy speak speech storm tell Text notes thee thine Trevor Nunn trochee villain words