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. |
Din interiorul cărții
Rezultatele 1 - 5 din 90
... actor. What we know about the limitations of acting confuses what we think we know about the character. Following his murder of Desdemona, Othello's focus darts away from and then back to her body four distinct times, wrenching the ...
... actor playing dead, for signs of life, the rhythm of breath, the barely perceptible movement. But the scene's structure (Emilia's interruptions, Othello's repeated doubts) insists, to the spectator, on the possibility that Desdemona ...
... actor's representation. Shakespeare, typical to his genius, makes the actor's difficulty in playing dead serve the spectatorial experience of the narrative.3 The exposure of artificiality actually confirms the drama. Hamlet shows death ...
... actor imitating death (real death) takes a physical exception to the exclusivity the lovers seek. Romeo and Juliet plays visually, as thematically, on the cusp of love and death. Shakespeare's confusion of looking dead with looking ...
... actor. We take pleasure in a death well performed, a pleasure that actually contributes to our respect for the heroism of the protagonist. The actor's skillful mastery of playing dead, that rising to a challenge accentuated by the ...
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 |