Shakespeare the Actor and the Purposes of PlayingUniversity 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. |
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Pagina iv
... Characters - Actors . 3. Theater- England - History - 16th century . 4. Theater - England - History - 17th century . 5. Actors - Great Britain - Biography . 6. Acting in literature . 7. Actors in literature . I. Title . PR3034.S58 1993 ...
... Characters - Actors . 3. Theater- England - History - 16th century . 4. Theater - England - History - 17th century . 5. Actors - Great Britain - Biography . 6. Acting in literature . 7. Actors in literature . I. Title . PR3034.S58 1993 ...
Pagina x
... characters often see their experience as tragedy or pageant ) , the scripted action ( often with literal or implied inner plays ) , and perhaps the actors ' own justifica- tion for their calling . The issue at stake in these comparisons ...
... characters often see their experience as tragedy or pageant ) , the scripted action ( often with literal or implied inner plays ) , and perhaps the actors ' own justifica- tion for their calling . The issue at stake in these comparisons ...
Pagina xi
... character and audience ( Stanley Cavell , a theorist of performance if not a performance critic per se ) . I have drawn heavily on the work of all of these performance critics , especially as they have attempted to answer questions ...
... character and audience ( Stanley Cavell , a theorist of performance if not a performance critic per se ) . I have drawn heavily on the work of all of these performance critics , especially as they have attempted to answer questions ...
Pagina xiv
... Characters , ed . Gwendolen Murphy . Waltham St. Lawrence : Golden Cockerel Press , 1928 . The Famous Victories of Henry the Fifth Containing the Honourable Battle of Agincourt . In The Oldcastle Controversy : " Sir John Oldcastle ...
... Characters , ed . Gwendolen Murphy . Waltham St. Lawrence : Golden Cockerel Press , 1928 . The Famous Victories of Henry the Fifth Containing the Honourable Battle of Agincourt . In The Oldcastle Controversy : " Sir John Oldcastle ...
Pagina xv
... Characters , or Essayes of Persons , Trades and Places . London : T.C. , 1629 . Marlowe , Christopher . The Complete Works of Christopher Marlowe . 2d ed . , ed . Fredson Bowers . Cambridge : Cambridge University Press , 1981 . Dr ...
... Characters , or Essayes of Persons , Trades and Places . London : T.C. , 1629 . Marlowe , Christopher . The Complete Works of Christopher Marlowe . 2d ed . , ed . Fredson Bowers . Cambridge : Cambridge University Press , 1981 . Dr ...
Cuprins
IV | 9 |
V | 29 |
VI | 30 |
VII | 46 |
VIII | 57 |
IX | 64 |
X | 73 |
XI | 85 |
XIX | 144 |
XX | 149 |
XXI | 158 |
XXII | 166 |
XXIII | 169 |
XXIV | 179 |
XXV | 183 |
XXVI | 191 |
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Termeni și expresii frecvente
Actaeon acting Anne Antony Arden Armado attack audience audience's baiting Barber and Wheeler bearbaiting beggar Bottom Brutus Caesar called Callow chapter character child cited in Chambers clown Comedy Coriolanus crowd crown death deer describes Drama dream Elizabethan Stage English Epilogue Fairy Falstaff fantasies father fawning fear flattering fool Hal's Hamlet Henriad Henry Henry IV Henry VI Histriomastix histrionic hunt identified inner plays italics added John John Marston Jonson King King Lear kneel Launce Lear literally London Lord Love's Labour's Lost male Midsummer Night's Dream mirror mother murder narcissistic offstage onstage performance play's players poet Queen Renaissance Richard Richard III role says scene Shake Shakespeare shame Shrew Sly's social sonnet speare's stage fright story suggests Tarlton tells theater theatrical thee Thomas thou Timon Timon of Athens Titus Titus Andronicus University Press Wives wounds York