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. |
Din interiorul cărții
Rezultatele 1 - 5 din 75
Pagina 7
... mother or performing for an adoring but fickle mob . Each man then fears that he will have to turn and flatter his flatterers . Only two are explicitly called actors , but each experi- ences an actor's agonies of presentation before a ...
... mother or performing for an adoring but fickle mob . Each man then fears that he will have to turn and flatter his flatterers . Only two are explicitly called actors , but each experi- ences an actor's agonies of presentation before a ...
Pagina 11
Ne pare rău, conținutul acestei pagini este restricționat.
Ne pare rău, conținutul acestei pagini este restricționat.
Pagina 18
Ne pare rău, conținutul acestei pagini este restricționat.
Ne pare rău, conținutul acestei pagini este restricționat.
Pagina 19
Ne pare rău, conținutul acestei pagini este restricționat.
Ne pare rău, conținutul acestei pagini este restricționat.
Pagina 20
Ne pare rău, conținutul acestei pagini este restricționat.
Ne pare rău, conținutul acestei pagini este restricționat.
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 |
Alte ediții - Afișează-le pe toate
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