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 vii
... Mirror A Mirror for Monsters 155 Two Gentlemen of Verona : Woman's Part , Dog's Part 158 Seven " Dogs , Licking , Candy , Melting " and the Flatterer's False Glass Elizabethan Moths and Fawns 169 166 Richard II : The " Tedious " Actor ...
... Mirror A Mirror for Monsters 155 Two Gentlemen of Verona : Woman's Part , Dog's Part 158 Seven " Dogs , Licking , Candy , Melting " and the Flatterer's False Glass Elizabethan Moths and Fawns 169 166 Richard II : The " Tedious " Actor ...
Pagina xi
... mirror , whether of reality or of artistic process . A third sort of criticism , which has also contributed to the present study , has shifted attention from mimesis to performance and from author to actor and audience . In Shake ...
... mirror , whether of reality or of artistic process . A third sort of criticism , which has also contributed to the present study , has shifted attention from mimesis to performance and from author to actor and audience . In Shake ...
Pagina 3
... get that happy feeling , / When you are stealing that extra bow . " But behind such satisfactions may lie the insecurity of narcissism in its clinical sense , a mirror - hungry personality that needs applause Introduction 3.
... get that happy feeling , / When you are stealing that extra bow . " But behind such satisfactions may lie the insecurity of narcissism in its clinical sense , a mirror - hungry personality that needs applause Introduction 3.
Pagina 4
Meredith Anne Skura. sense , a mirror - hungry personality that needs applause to shore up a fragile sense of self . The emotional stakes evoke the all - or - nothing intensities of childhood , and can give an audience the power of the ...
Meredith Anne Skura. sense , a mirror - hungry personality that needs applause to shore up a fragile sense of self . The emotional stakes evoke the all - or - nothing intensities of childhood , and can give an audience the power of the ...
Pagina 6
... mirror or reflecting glass . Hamlet's formulaic advice to the players sounds simple : the purpose of playing is to hold the mirror up to nature . But theatrical optics are more complex , and the variety of relations possible in the ...
... mirror or reflecting glass . Hamlet's formulaic advice to the players sounds simple : the purpose of playing is to hold the mirror up to nature . But theatrical optics are more complex , and the variety of relations possible in the ...
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