King Lear


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King Lear

goes mad as all desert him. [Brit. Lit.: Shakespeare King Lear]
See: Madness
References in periodicals archive ?
Even if you only know King Lear through a plot synopsis, you'll have an idea of what's going to happen.
M Blayney in his 1982 The Texts of King Lear and their Origins: Nicholas Okes and the First Quarto, on which Vickers generally relies.
He says: "I wanted to be a part of King Lear because I've been to the RSC many times and have always been impressed by the standard and quality of every performance, and the shows they put on are incredibly original and unique.
Plans for a big-budget King Lear had been unveiled at the Cannes Film Festival 12 months prior to that, with the announcement that a glitzy A-list cast - including Keira Knightley, Gwyneth Paltrow and Naomi Watts - had already been lined up to star alongside the Welshman.
While Reimann's operas tend to be based on literary classics and preserve the shape and intentions of their sources, Sallinen's operas are much more dramatically abstract, and in fact King Lear (his sixth) is the first to be based on a traditional drama.
1) Northrop Frye, who warned that no one can study King Lear without "wondering why Edgar puts on this Poor Tom act for Lear's benefit," was probably unpersuaded by Harry Levin's explanation of Edgar's "vagrant grotesquerie" in terms of a therapeutic correlative for Lear.
as King Lear Picture: NOBBY CLARK And while we know Rutter can certainly roar, he is actually at his best as Lear's world implodes and the cruel tentacles of confusion and senility begin to take hold.
They kill us for their sport WILLIAM SHAKESPEARE, KING LEAR
The three acts, respectively entitled "The Play," "Playing," and "A Player," illustrate the attempt to deliver a King Lear that is different from the familiar story-line about an aged monarch.
King Lear opened in Portsmouth last month and is touring the UK and the US throughout the summer and autumn.
After a short introduction, Part I offers one very long chapter on Shakespeare's King Lear, in which Sun establishes the play as paradigmatic in its representation of sovereignty as a politics of exposure.
Russian film director Grigory Kozintsev's film adaptations of Hamlet and King Lear were intended as indictments of Soviet policies.