The Staging of Romance in Late Shakespeare: Text and Theatrical TechniqueUniversity of Delaware Press, 2007 - 304 páginas Few plays have both attracted and resisted genre study as strongly as Shakespeare's late plays. The Staging of Romance in Late Shakespeare: Text and Theatrical Technique takes a fresh approach to the role of genre in these plays by placing them in relation to the tradition of staged romance in the early modern English theater. The book argues that Shakespeare's late plays can best be understood as theatrical experiments that extend and reform this tradition, which developed around a group of theatrical techniques that sought to realize the effects of narrative romance in the theatrical medium. Their central effect was the creation of admiration in the spectators for heroic action; the value of the plays within the culture derived from this experience. |
Dentro del libro
Resultados 1-5 de 63
Página 13
... challenge per- formers , spectators , and the resources of the literary genre of romance , seeking to discover how it is possible that people can im- prove their lives . They risk failing to satisfy performers and specta- tors in order ...
... challenge per- formers , spectators , and the resources of the literary genre of romance , seeking to discover how it is possible that people can im- prove their lives . They risk failing to satisfy performers and specta- tors in order ...
Página 17
... challenges arranged by the texts of the romances , the potential powers of mimetic techniques can be clarified or ... challenge for theatrical mimesis . In act 5 of The Tempest , when Prospero has his enemies in his power , he debates ...
... challenges arranged by the texts of the romances , the potential powers of mimetic techniques can be clarified or ... challenge for theatrical mimesis . In act 5 of The Tempest , when Prospero has his enemies in his power , he debates ...
Página 18
... challenge for performers , but it does not dictate how they will or should respond to that challenge . The meaning of the play for the spectators will follow from their experience of the performers ' response to the challenges arranged ...
... challenge for performers , but it does not dictate how they will or should respond to that challenge . The meaning of the play for the spectators will follow from their experience of the performers ' response to the challenges arranged ...
Página 20
... challenge their opponents ' claims about their own powers of action with questions like " Can you do this ? " and " Is this possible ? " The most important , pervasive modal conflict in the late plays takes place between romance and ...
... challenge their opponents ' claims about their own powers of action with questions like " Can you do this ? " and " Is this possible ? " The most important , pervasive modal conflict in the late plays takes place between romance and ...
Página 21
... challenge to his way of life . Their con- flict is modal in two senses . First , the subject of their argument is action : they are contending over what sorts of actions make for a human life . When Marina claims that Boult's actions ...
... challenge to his way of life . Their con- flict is modal in two senses . First , the subject of their argument is action : they are contending over what sorts of actions make for a human life . When Marina claims that Boult's actions ...
Contenido
11 | |
Leontes Jealousy The Experience of Uncertainty and Generic Conflict | 30 |
The Development of Dramatic Romance 15701610 | 60 |
Hermione Paulina and Their Audiences The Role of Mimetic Involvements in Transformation | 117 |
Achieved Miracle Completion in Dramatic Romance | 156 |
Unceasing Transformation Further Tests of Romance in The Tempest Henry VIII and The Two Noble Kinsmen | 202 |
Notes | 239 |
Bibliography | 270 |
287 | |
Otras ediciones - Ver todas
The Staging of Romance in Late Shakespeare: Text and Theatrical Technique Christopher J. Cobb Sin vista previa disponible - 2007 |
Términos y frases comunes
accept achieve action actor appears audience becomes begins body bring Camillo challenge chapter characters claims condition continues court create critics desire dramatic romance early effects efforts emotional enactment English experience feelings final Florizel follow genre give harmony heart Henry Hermione Hermione's heroic heroic action honor human important involvement jealousy kind King language late plays lead Leontes limits lords means mimetic modal mode move nature Noble observation offers opening passion pastoral Paulina Perdita performance Philaster play play's plot political Polixenes possible presents production Prospero question representation represented response reveal rhetoric role scene seems sense Shakespeare shows social sort speaks spectacle spectators speech staging story struggle style suffering suggests Tale techniques Tempest theater theatrical tion tradition tragedy tragic transformation truth turn uncertainty University Press values virtue Winter's Winter's Tale witness
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