Shakespeare the Actor and the Purposes of Playing
University of Chicago Press, 1993 - 325 pagini
For the Renaissance, all the world may have been a stage and all its people players, but Shakespeare was also an actor on the literal stage. Meredith Anne Skura asks what it meant to be an actor in Shakespeare's England and shows why a knowledge of actual theatrical practices is essential for understanding both Shakespeare's plays and the theatricality of everyday life in early modern England.
Despite the obvious differences between our theater and Shakespeare's, sixteenth-century testimony suggests that the experience of acting has not changed much over the centuries. Beginning with a psychoanalytically informed account of acting today, Skura shows how this intense and ambivalent experience appears not only in literal references to acting in Shakespearean drama but also in recurring narrative concerns, details of language, and dramatic strategies used to engage the audience. Looking at the plays in the context of both public and private worlds outside the theater, Skura rereads the canon to identify new configurations in the plays and new ways of understanding theatrical self-consciousness in Renaissance England. Rich in theatrical, psychoanalytic, biographical, and historical insight, this book will be invaluable to students of Shakespeare and instructive to all readers interested in the dynamics of performance.
Ce spun oamenii - Scrieți o recenzie
Nu am găsit nicio recenzie în locurile obișnuite.
Alte ediții - Afișați-le pe toate
Actaeon acting actor added already Anne appears argues asks associated attack audience bear becomes beggar begins body Bottom Caesar called chapter character child cited claim clown comes Coriolanus created crowd crown death depends describes Drama dream early Elizabethan English example experience eyes fact Falstaff fantasies father fear feel figure finally finds flattering fool give Hamlet Henry hunt identified important italics John King later Lear less lines literally live London look Lord Lost Love's male means mirror mother move notes offering once original performance perhaps play players poet present provides reference relation Richard role Roman Actor says scene seems seen sense Shake Shakespeare Shrew Sly's social sonnet speaking stage story suggests tells theater theatrical thing Thomas thou Timon turn University Press wounds York
Toate rezultatele Google Căutare de cărți »
Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's Theatre
Previzualizare limitată - 2000