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 ix
... early , even infantile , stages of development as shaped by the world Shakespeare was born into . The work of psychoanalytic and feminist critics , particularly Janet Adelman , C. L. Barber , Coppélia Kahn , Carol Nee- ly , and Richard ...
... early , even infantile , stages of development as shaped by the world Shakespeare was born into . The work of psychoanalytic and feminist critics , particularly Janet Adelman , C. L. Barber , Coppélia Kahn , Carol Nee- ly , and Richard ...
Pagina x
... early modern subjectivity , much as our study of artificial intelligence sug- gests models for understanding our own . Although focused on Shakespeare , then , the book draws on and , I hope , contributes to various discussions of the ...
... early modern subjectivity , much as our study of artificial intelligence sug- gests models for understanding our own . Although focused on Shakespeare , then , the book draws on and , I hope , contributes to various discussions of the ...
Pagina xii
... early draft of the entire manuscript ; David Bevington and Richard Wheeler read a later draft and responded with wonderfully detailed comments to which I have re- turned many times in reshaping the material ; Anne Few read and discussed ...
... early draft of the entire manuscript ; David Bevington and Richard Wheeler read a later draft and responded with wonderfully detailed comments to which I have re- turned many times in reshaping the material ; Anne Few read and discussed ...
Pagina 1
... early stint as a player as one of the incidental costs of his ultimate career as chief writer for Lord Chamberlain's Men . But his contemporaries knew him first as an actor , " excellent in the quality he professes , " as Chettle said ...
... early stint as a player as one of the incidental costs of his ultimate career as chief writer for Lord Chamberlain's Men . But his contemporaries knew him first as an actor , " excellent in the quality he professes , " as Chettle said ...
Pagina 3
... early seventeenth centuries and moves on to the question of how Shakespeare's acting might have shaped his texts and the performances they imply . There is a danger of circularity in using the plays to define an actor's perspective and ...
... early seventeenth centuries and moves on to the question of how Shakespeare's acting might have shaped his texts and the performances they imply . There is a danger of circularity in using the plays to define an actor's perspective and ...
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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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