Playhouse and Cosmos: Shakespearean Theater as MetaphorUniversity of Delaware Press, 1985 - 188 pagini Playhouse and Cosmos systematically and comprehensively describes the function of theater and role-playing as metaphors in Shakespearean drama. The author examines this metaphor's revelatory and liberating power and concludes by affirming, with Shakespeare, the creative power of theatricality in life and in art. |
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Pagina
... spectators in withdrawing temporarily from ordinary life to enter the second world defined by the playhouse . This pattern of withdrawal and return shapes both the definition of setting and the de- velopment of character and brings them ...
... spectators in withdrawing temporarily from ordinary life to enter the second world defined by the playhouse . This pattern of withdrawal and return shapes both the definition of setting and the de- velopment of character and brings them ...
Pagina 11
... spectators , staging plays within the play , so that relationships of life and theater are embedded in the dramatic action itself . In As You Like It , for example , Rosalind is " a busy actor " long before she calls herself one ( III ...
... spectators , staging plays within the play , so that relationships of life and theater are embedded in the dramatic action itself . In As You Like It , for example , Rosalind is " a busy actor " long before she calls herself one ( III ...
Pagina 18
... reality beyond the playhouse walls ; ( 2 ) within the playhouse , the immediate activity of playing and pretending shared by actors and spectators is metaphorically related to the play's image of life 18 PLAYHOUSE AND COSMOS.
... reality beyond the playhouse walls ; ( 2 ) within the playhouse , the immediate activity of playing and pretending shared by actors and spectators is metaphorically related to the play's image of life 18 PLAYHOUSE AND COSMOS.
Pagina 19
... spectators ' journey to the playhouse . The " green world " of the forest provides a stage on which Rosalind disguises herself and becomes her own actor . The characters ' return from the forest to the normal world is only anticipated ...
... spectators ' journey to the playhouse . The " green world " of the forest provides a stage on which Rosalind disguises herself and becomes her own actor . The characters ' return from the forest to the normal world is only anticipated ...
Pagina 20
... spectators , to with- draw from ordinary life and transform both self and world from within ; and the capacity , embodied in the mimetic power of perform- ance , to return from the inner world to the outer and either reconcile their ...
... spectators , to with- draw from ordinary life and transform both self and world from within ; and the capacity , embodied in the mimetic power of perform- ance , to return from the inner world to the outer and either reconcile their ...
Cuprins
23 | |
Reality in Play Playhouse as Emblem Performance as Metaphor | 45 |
Reality and Play in Dramatic Fiction | 67 |
Theatrical Fiction and the Reality of Love in As You Like It | 86 |
Heroism History and the Theater in Henry V | 102 |
From Community to Society Cultural Transformation in Macbeth | 126 |
Conclusion | 148 |
Notes | 152 |
Works Cited | 171 |
Index | 185 |
Termeni și expresii frecvente
action actor actors and spectators affirms ambivalence Atlas audience auditorium Banquo Cambridge character Chicago Chorus Clarendon Press comedy cosmic emblem cosmos Critical defined dimensions disguise dramatic fiction dramatist Dream E. K. Chambers Edward Edward III Elizabethan drama embodies English Ernst Cassirer Essays experience fictive forest Ganymede Globe Gregory Smith Harry Berger Henry Henry's heroic heroism heterocosm human ideal imagination inner Kernan king London lovers Macbeth Macduff Malcolm Menaechmi metacritical metaphor Midsummer Night's Dream mimesis mimetic mind mode narrative nature normal world object objectifies opening scenes Orlando Oxford pattern of withdrawal play and reality play's players poetic poetry present Princeton projections relation relationship Renaissance response role role-playing Rosalind says setting Shake Shakespeare Shakespeare Quarterly Shakespearean drama Sidney stage Stephen Gosson structure subjective symbol Tamburlaine theater theatrical artifice theatrical event theatrical performance Theatrum thought tion Tragedies trans transform witches withdrawal and return Yale University York
Pasaje populare
Pagina 127 - This guest of summer, The temple-haunting martlet, does approve By his loved mansionry that the heaven's breath Smells wooingly here : no jutty, frieze, Buttress, nor coign of vantage, but this bird Hath made his pendent bed and procreant cradle : Where they most breed and haunt, I have observed The air is delicate.
Pagina 54 - Now entertain conjecture of a time, When creeping murmur, and the poring dark, Fills the wide vessel of the universe. From camp to camp, through the foul womb of night, The hum of either army stilly sounds, That the fix'd sentinels almost receive The secret whispers of each other's watch...
Pagina 113 - Once more unto the breach, dear friends, once more ; Or close the wall up with our English dead ! In peace, there's nothing so becomes a man, As modest stillness and humility ; But when the blast of war blows in our ears, Then imitate the action of the tiger ; Stiffen the sinews, summon up the blood, Disguise fair nature with hard-favored rage.
Pagina 136 - Alarum'd by his sentinel, the wolf, Whose howl's his watch, thus with his stealthy pace. With Tarquin's ravishing strides, towards his design Moves like a ghost.
Pagina 139 - For in my way it lies. Stars, hide your fires; Let not light see my black and deep desires: The eye wink at the hand; yet let that be Which the eye fears, when it is done, to see.
Pagina 75 - Things base and vile, holding no quantity, Love can transpose to form and dignity. Love looks not with the eyes, but with the mind ; And therefore is wing'd Cupid painted blind...
Pagina 55 - Purple the sails, and so perfumed that The winds were love-sick with them, the oars were silver, Which to the tune of flutes kept stroke, and made The water which they beat to follow faster, As amorous of their strokes. For her own person, It...
Pagina 40 - Nor the dejected haviour of the visage, Together with all forms, modes, shows of grief, That can denote me truly: These, indeed, seem, For they are actions that a man might play : But I have that within, which passeth show; These, but the trappings and the suits of woe.
Pagina 90 - Now, my co-mates and brothers in exile, Hath not old custom made this life more sweet Than that of painted pomp? Are not these woods More free from peril than the envious court? Here feel we but the penalty of Adam, — The seasons...