Shakespearean Tragedy and Its Double: The Rhythms of Audience ResponsePenn State Press, 5 aug. 1991 - 300 pagini Why does Shakespearean tragedy continue to move spectators even though Elizabethan philosophical assumptions have faded from belief? Shakespearean Tragedy and Its Double seeks answers in the moment-by-moment dynamics of performance and response, and the Shakespearean text signals those possibilities. Shakespearean Tragedy and Its Double investigates the poetics of audience response. Approaching tragedy through the rhythms of spectatorial engagement and detachment ("aesthetic distance"), Kent Cartwright provides a performance-oriented and phenomenological perspective. Shakespearean Tragedy and Its Double analyzes the development of the tragic audience as it oscillates between engagement—an immersion in narrative, character, and physical action—and detachment—a consciousness of its own comparative judgments, its doubts, and of acting and theatricality. Cartwright contends that the spectator emerges as a character implied and acted upon by the play. He supports his theory with close readings of individual plays from the perspective of a particular element of spectatorial response: the carnivalesque qualities of Romeo and Juliet; the rhythm of similitude, displacement, and wonder in the audience's relationships to Hamlet; aesthetic distance as scenic structure in Othello; the influence of secondary characters and ensemble acting on the Quarto King Lear; and spectatorship as action itself in Antony and Cleopatra. Shakespearean Tragedy and Its Double treats the dramatic moment in Shakespearean tragedy as uncommonly charged, various, indeterminate, always negotiating unpredictably between the necessary and the spontaneous. Cartwright argues that, for the audience, the very dynamism of tragedy confers a certain enfranchisement, and the spectator's experience emerges as analogous to, though different from, that of the protagonist. Through its own engagement and detachments the audience becomes the final performer creating the play's meaning. |
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... Mercutio's rival in the goose-chasing of wits. In that guise, which Mercutio considers the true Romeo (II.iv.89-90), Romeo.
The Rhythms of Audience Response Kent Cartwright. that guise, which Mercutio considers the true Romeo (II.iv.89-90), Romeo charms the audience, too, but also at a distance. The sustained exchanges of wit between Mercutio and Romeo, for ...
... Mercutio later parodies [II.i.10]), decelerates into dolefulness (“Sad hours seem long”), then breaks that drift with an errant interest in the passing scene (“Was that my father that went hence so fast?”—another red herring). Romeo's ...
... Mercutio's witty exchange on burning daylight (43-47), which sets, with comic effect, the darkness of the stage illusion against the actual daylight of the Elizabethan theater. Romeo's detachment from the reality around him.
... Mercutio, Tybalt, Paris) whose monocular vision betrays itself through spectatorial detachment. Mercutio's panegyric to Queen Mab (I.iv.53-95), the ambassadress of wishful thinking, demonstrates that condition dramatically and ...
Cuprins
The Scenic Rhythms of Othello | |
Kent Edgar and the Situation of King Lear | |
The Audience In and Out of Antony and Cleopatra | |
Notes | |
Selected Bibliography | |
Index | |
Alte ediții - Afișează-le pe toate
Shakespearean Tragedy and Its Double: The Rhythms of Audience Response Kent Cartwright Previzualizare limitată - 2010 |
Shakespearean Tragedy and Its Double: The Rhythms of Audience Response Kent Cartwright Previzualizare limitată - 1991 |
Shakespearean Tragedy and Its Double: The Rhythms of Audience Response Kent Cartwright Vizualizare fragmente - 1991 |