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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... the moment of poignant “recognition” of all the lost, fair expectancy of Denmark. Rather different, the Coriolanus-actor, in a violent death with a less heartrending effect, must demonstrate as much physical strength in playing.
... empathizing. As “identifying,” engagement involves the recognition—a basic form of theatrical pleasure—of character in characteristics, such as how the Porter's inebriation and wit expose his “humor.” Empathy closes the.
... recognition infusing spectatorial bewitchment.42 Typically, “behold” in the tragedies arises for divergent purposes: on the one hand, to confirm a deeply affecting spectacle and, on the other hand, to suggest symbolic or proleptic ...
... recognition” of the blasted Lear: “If Fortune brag of two she lov'd and hated, / One of them we behold” (King Lear, V.iii.281-82). Macduff cries out, “Hail, King! for so thou art,” to Malcolm, “Behold where stands / Th' usurper's cursed ...
... recognition, community, and sound.” 68 With dramatic performance, auditors are present to each other, recognize their own and others' reactions, respond univocally as a community, and make noises that express and reinforce recognition ...
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 |