scene
See this word as a collocate cloud
| macbeth s castle act iii | scene | 1 royal palace forres scene |
| scene 1 royal palace forres | scene | 2 royal palace forres scene |
| scene 2 royal palace forres | scene | 3 near the royal palace |
| 3 up on the moor | scene | 4 royal palace at forres |
| 4 royal palace at forres | scene | 5 macbeth s castle inverness |
| of act ii act iii | scene | i the palace forres enter |
| clairtie air they leave curtain | scene | ii a camp near forres |
| lairners yit they leave curtain | scene | v the palace at forres |
| in the castle at dunsinane | scene | 2 open country near dunsinane |
| 2 open country near dunsinane | scene | 3 courtyard of castle at |
| courtyard of castle at dunsinane | scene | 4 country near birnam wood |
| courtyard of castle at dunsinane | scene | 6 before the castle at |
| before the castle at dunsinane | scene | 7 part of the battlefield |
| physician guidnicht they leave curtain | scene | ii open country near dunsinane |
| they all march off curtain | scene | v a courtyard in dunsinane |
| by meg curtain act ii | scene | 1 malcolm s chaumer three |
| and exit curtain act iii | scene | 1 the queen s chaumer |
| maister rintoul curtain act ii | scene | 1 the wal at the |
| to have dozed off curtain | scene | 10 inside pompitie s house |
| he flies off right curtain | scene | 2 before the hen wyfe |
| his pincers curtain act ii | scene | 2 malcolm s chaumer two |
| spinning wheel curtain act 1 | scene | 2 the mukkil haw two |
| dream ends curtain act iii | scene | 2 the queen s chaumer |
| nanse leaves curtain act ii | scene | 2 the wal at the |
| and flies off right curtain | scene | 3 the common by the |
| ma tyme curtain act i | scene | 3 the mukkil haw seven |
| her and tramps off curtain | scene | 4 the common by the |
| need me curtain act i | scene | 4 two adjoining bedrooms later |
| leaves to the right curtain | scene | 5 the common by the |
| mair bairns curtain act i | scene | 5 the next morning in |
| exit malcolm curtain act i | scene | 6 several hours later in |
| aboot his sair back curtain | scene | 6 the common by the |
| offstage to the right curtain | scene | 7 the common by the |
| off left moaning softly curtain | scene | 8 the common by the |
| inside and he enters curtain | scene | 9 the common with a |
| the nicht he goes curtain | scene | ii at the palace at |
| ti hell he leaves curtain | scene | ii macbeth s castle the |
| wi thaim they leave curtain | scene | ii macduff s castle in |
| birnam they march off curtain | scene | iii a courtyard in the |
| haes wun they leave curtain | scene | iii a moor with thunder |
| pursued by the murderers curtain | scene | iii england near the palace |
| ye coud they leave curtain | scene | iii inside an outer door |
| ye please they go curtain | scene | iii some distance from the |
| amazement curtain act two the | scene | is the same as in |
| mainners here they leave curtain | scene | iv outside macbeth s castle |
| back again they leave curtain | scene | iv the country near birnam |
| ve duin they leave curtain | scene | iv the hall of the |
| cum freins they leave curtain | scene | iv the royal palace at |
| fanfare they leave slowly curtain | scene | v macbeth s castle inverness |
| ti me they leave curtain | scene | vi before macbeth s castle |
| ma back they leave curtain | scene | vi before the gate of |
| leave hostess they leave curtain | scene | vii macbeth s castle oboes |
| an daith they leave curtain | scene | vii part of the battlefield |
| macbeth s castle act ii | scene | 1 courtyard of macbeth s |
| courtyard of macbeth s castle | scene | 2 macbeth s castle scene |
| 4 country near birnam wood | scene | 5 courtyard of castle at |
| of act i act ii | scene | i the courtyard of macbeth |
| other apparitions setting act i | scene | 1 up on the moor |
| 1 up on the moor | scene | 2 king duncan s camp |
| 2 king duncan s camp | scene | 3 up on the moor |
| of the battlefield act i | scene | i a deserted moor there |
| the royal palace act iv | scene | 1 a cavern scene 2 |
| 2 macduffs castle in fife | scene | 3 the palace of edward |
| 3 near the royal palace | scene | 4 the royal palace scene |
| scene 4 the royal palace | scene | 5 the royal palace act |
| i scene 3 act iv | scene | 1 act v scene 5 |
| new makars 1991 act iv | scene | 1 act v scene 5 |
| ii scene 1 act iii | scene | 2 act iv scenes 1 |
| iv scene 1 a cavern | scene | 2 macduffs castle in fife |
| 27 november 1986 act i | scene | 3 act iv scene 1 |
| iv scene 1 act v | scene | 5 acknowledgement is also made |
| iv scene 1 act v | scene | 5 lallans 37 november 1991 |
| of act iii act iv | scene | i a cavern and in |
| of act iv act v | scene | i a room in the |
| edward the confessor act v | scene | 1 in the castle at |
| scene 2 macbeth s castle | scene | 3 entrance to macbeth s |
| entrance to macbeth s castle | scene | 4 outside macbeth s castle |
| 5 macbeth s castle inverness | scene | 6 before macbeth s castle |
| 6 before macbeth s castle | scene | 7 macbeth s castle act |
| 37 november 1991 act ii | scene | 1 act iii scene 2 |
| and unfulfilled desire little s | scene | is a rural scene of |
| most often anthologised are the | scene | is the scene where admirable |
| s scene is a rural | scene | of everyday life full of |
| are the scene is the | scene | where admirable crichton puts on |
| the same day act ii | scene | 1 malcolm s chaumer thrie |
| twa weeks later act iii | scene | 1 the queen s chaumer |
| the same forenicht act i | scene | 1 the queen s chaumer |
| the prince settings act i | scene | 1 the queen s chaumer |
| s chaumer thrie month eftir | scene | 2 malcolm s chaumer twa |
| week later in the afternoon | scene | 2 the queen s chaumer |
| s son setting act i | scene | 1 the mukkil haw malcolm |
| lang whyle syne in mairch | scene | 2 the mukkil haw twa |
| mukkil haw twa month eftir | scene | 3 the mukkil haw seivin |
| home by the toll road | scene | 3 the tea wyfe s |
| threatens whoever has taken it | scene | 4 the toll house the |
| back to the toll man | scene | 6 the toll man s |
| 59 january 1990 act ii | scene | 1 the new makars 1991 |
| syne the mornin act ii | scene | 1 the wal at the |
| known passage from act ii | scene | 2 cum blinndin nicht hap |
| love which is natural and | scene | ii is about acting which |
| been helpful in setting the | scene | but there is a strong |
| structure of orientation setting the | scene | series of events and often |
| the presentation we need some | scene | setting so that i can |
| of the setting similarly a | scene | with a distinctive action and |
| twa day eftir act i | scene | 1 the great hall inside |
| s julius caesar act 2 | scene | 2 ___ aert earth is |
| life to art act i | scene | i is about love which |
| keep an ee on them | scene | 1 thomas s 2 sisters |
| musicians see notes below cast | scene | 1 thomas the toddler is |
| for the missing toddler cast | scene | 2 thomas brings creatures to |
| pupils the other actors cast | scene | 3 the rest of thomas |
| the hen wyfe s place | scene | 2 the hen wyfe s |
| man the feather guides pompitie | scene | 5 the tea wyfe s |
| hug family members and dance | scene | 2 music again to accompany |
| fleming governess lady in waiting | scene | 3 courtly dance as mary |
| marys to dance as above | scene | 4 mary marries darnley who |
| dance a jig light fades | scene | opens with robby and tess |
| folk of the 19th century | scene | 1 the hen finds grain |
| voice pepper the g nome | scene | 1 the green common before |
| rainbows at hir houss door | scene | 1 the gress common before |
| actors can play 2 parts | scene | 1 james v mary of |
| chaumers in malcolm s touer | scene | 5 the forest the neist |
| corn aa hersel music mime | scene | 2 the cows refuse to |
| put the creatures there earlier | scene | 3 music at each chord |
| music with scrapers and shaker | scene | 3 the horse refuses to |
| help her music and mime | scene | 5 the miller grind the |
| a proud and thriving music | scene | indeed an industry and shetland |
| seivin month eftir in december | scene | 4 twa neiborin chaumers in |
| david purves the ootlaw 1 | scene | a hut door at back |
| waiting minister to crown baby | scene | 2 mary s childhood in |
| s end a week later | scene | 2 the wal at the |
| q darnley accomplice rizzio harper | scene | 5 mary is emprisoned at |
| on other side of loch | scene | 6 mary is emprisoned by |
| suddenly there appeared on the | scene | a small girl mary oxley |
| the forest the neist morn | scene | 6 the forest later the |
| and mime with shakers scrapers | scene | 4 the pigs refuse to |
| expression where appropriate especially in | scene | 3 the actors are to |
| mak a roon o breid | scene | 6 the farm wife agrees |
| feather and the green leaf | scene | 8 the witch s house |
| green crayons to sketch this | scene | and yellow for the rented |
| dreariest part of the dreary | scene | dull grass dull green bracken |
| old dear was off the | scene | and grampa dan was asleep |
| flight and disappears off the | scene | because they find themselves in |
| taken it was like a | scene | from still game off the |
| natural father is off the | scene | when the woman is eight |
| rain splattered my forehead the | scene | before me in plaza borne |
| wellington boots came on the | scene | in the 1930s also before |
| since asp came on the | scene | a tiered system would allow |
| and maggie came on the | scene | and said rubbish she said |
| eh head came on eh | scene | he threw him ower a |
| whan alasdair came on the | scene | that wis different likes probably |
| innovation that came on the | scene | with the scottish parliament the |
| when you re on the | scene | at the front door as |
| opened the kitchen door the | scene | that greeted him was a |
| cosy wee nest o strae | scene | 7 the animals try to |
| the wutch that mends rainbows | scene | 7 the witch s house |
| home with the english literary | scene | and more than a little |
| floor i do have a | scene | i do have a little |
| eyelids slowly to catch the | scene | watching the little lights flash |
| it efter the nesty little | scene | we had here beaumont aye |
| the beatles ticket to ride | scene | in the movie help mind |
| to help mentally reconstruct the | scene | of 1941 59 the jetty |
| help zeb away light fades | scene | re opens with tess holding |
| us i will set the | scene | and liz will outline the |
| right we ll set the | scene | for you the red haired |
| winter in strathearn the sinister | scene | is immediately set by the |
| scots vocabulary to set the | scene | there wis nae soon but |
| most like a lake the | scene | would seem to be set |
| plutarch who described the same | scene | shakespeare embellishes his description in |
| first half in that one | scene | does not lead to the |
| nou picter the verra first | scene | i buchan s john macnab |
| hallelujah the first prose sex | scene | in scottish literature but it |
| is the first prose sex | scene | in scottish literature you get |
| might be the first sex | scene | in scottish prose john knox |
| last to arrive at the | scene | of the sinking the first |
| chords human roles in first | scene | take up positions in a |
| the first vessels on the | scene | were not official rescue ships |
| interferon where it fits the | scene | how many health authorities in |
| most often anthologised is the | scene | where the admirable crichton puts |
| scenes for example in the | scene | where the death of dr |
| and autobiographical essays from scottish | scene | and mitchell was also planning |
| dod is also in the | scene | looking very pleased with himself |
| hard at it throughout the | scene | it would be exciting if |
| for a arriving at the | scene | of a call out and |
| edinburgh s got a vibrant | scene | i mean there s so |
| forestry commission kam on the | scene | i the late 1940 s |
| a there s a huge | scene | in argyll of eh community |
| he s back on the | scene | isn t he i said |
| s assessment early teacher theatrical | scene | painter tv playwright seventeen perf- |
| ane an aa the bethlehem | scene | s gaen rick ma tick |
| till the end of the | scene | that s a funny business |
| there s an active literary | scene | there s been discussions and |
| character and enobarbus describes the | scene | when compared to north s |
| belfast lough arrived on the | scene | shortly afterwards they fared no |
| nearer than torry tae the | scene | o the crime dennis mckenzie |
| a a better thriving drama | scene | than than what we have |
| the darkness deepens during the | scene | a chandelier is lit maids |
| of macdiarmid appeared on the | scene | archaic words were resuscitated notably |
| the finishing touch to the | scene | by characteristically involving the universe |
| we find the following bar | scene | carney six gun in hand |
| cars and running towards the | scene | crowding anxiously round i looked |
| about which prelude evokes the | scene | described by george sand but |
| aircraft had arrived on the | scene | dropping equipment to survivors and |
| a b envisage the idyllic | scene | enshrined in print and book |
| mmhm m017: to the scottish | scene | f718: uh huh m017: er |
| concerned everyone on the european | scene | for many years was the |
| side it wis like yon | scene | frae butch cassidy an the |
| over the rest of the | scene | georgie cheerfully spits her seeds |
| to gossip during the following | scene | georgie remains on stage working |
| remarkable survey of the international | scene | i spent a week just |
| how freud reconstructed the primal | scene | in totem and taboo let |
| food going around throughout the | scene | in which case chrissie teenie |
| son too especially in the | scene | in which he got arrested |
| and something the scottish arts | scene | is far too familiar with |
| indulging in the illegal drugs | scene | it is as if those |
| a mob burst onto the | scene | leaping and whirling cracking whips |
| in lanarkshire arrived on the | scene | not that he knew any |
| by the end of the | scene | note it is important to |
| but luikin backwards ower the | scene | o schules the day an |
| a turn oot tae the | scene | o the crime an rand |
| stand and view the old | scene | of my boyhood and manhood |
| colour of the island a | scene | painted in browns blacks greys |
| days after the last angelica | scene | she is in her working |
| is identified on the worldwide | scene | so much as robert burns |
| of the conventional male seduction | scene | the female pool lies knowingly |
| you get this wonderful battle | scene | the king is killed and |
| gin as he recalled the | scene | there was no falling out |
| other folk come on the | scene | to strut their buskin on |
| spirited black pony this soothing | scene | was soon shattered by the |
| and resourceful in the earlier | scene | when he sees the bodies |
| piny and ran to the | scene | whilst may phoned the police |
| was brittle a change of | scene | you ll soon be right |
| him home in a barrow | scene | 10 pompitie rests while pepper |
| and returns it to him | scene | 9 a curly bush on |
| that greeted him was a | scene | that rendered all rational or |
| of local climate and a | scene | from a story in which |
| need a thriving poetry reading | scene | and probably a a better |
| that language into this placid | scene | burst a young american noam |
| disciples had fled from that | scene | except a few dear bold |
| a erm some kind of | scene | fae de life o de |
| f641: no f639: a nativity | scene | no f640: because when i |
| to put up a nativity | scene | or er f640: no f639: |
| wall hanging showing a market | scene | she returned in good time |
| introduces a picture of a | scene | such as that of a |
| for a dido and aeneas | scene | we just sat and sat |
| given a picture of a | scene | with human figures in it |
| voices to construct a dramatic | scene | within a poem all qualities |
| gay hunter 1934 1989 scottish | scene | gibbon macdiarmid 1934 grey granite |
| cinderella prokoviev version lovely ball | scene | corps excellent lots of children |
| see and wee field here | scene | and croon are probably best |
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