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. |
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Página 13
... gives the event its transformative power . Shakespeare's late plays explore the basis for personal and social renewal through the practices of literary and theatrical art by looking for types of performance practices and dra- matic ...
... gives the event its transformative power . Shakespeare's late plays explore the basis for personal and social renewal through the practices of literary and theatrical art by looking for types of performance practices and dra- matic ...
Página 16
... give performers an ap- parent power of flight , as is the case when Jupiter descends from the heavens in Cymbeline . A stage convention can give a performer the power to become invisible at will : in The Tempest , Prospero need only ...
... give performers an ap- parent power of flight , as is the case when Jupiter descends from the heavens in Cymbeline . A stage convention can give a performer the power to become invisible at will : in The Tempest , Prospero need only ...
Página 21
... give him the power to live , but not the power to be human . Second , the resolution of their conflict depends upon the relative power of action each is capable of achieving . The modal conflict in this scene pits the power of action of ...
... give him the power to live , but not the power to be human . Second , the resolution of their conflict depends upon the relative power of action each is capable of achieving . The modal conflict in this scene pits the power of action of ...
Página 25
... gives the spectators responsibility for the ending of the play , making their continuation of the story begin even before they have left the theater . Its work of renewal depends upon them . Thus , as I understand it , modal conflict in ...
... gives the spectators responsibility for the ending of the play , making their continuation of the story begin even before they have left the theater . Its work of renewal depends upon them . Thus , as I understand it , modal conflict in ...
Página 26
... give a satisfactory account of the experiences a play can create through this process , I must examine that play in depth from beginning to end , as it would be performed and received in the the- ater . Only in this way can analysis ...
... give a satisfactory account of the experiences a play can create through this process , I must examine that play in depth from beginning to end , as it would be performed and received in the the- ater . Only in this way can analysis ...
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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Página 9 - Though with their high wrongs I am struck to the quick, Yet, with my nobler reason, 'gainst my fury Do I take part : the rarer action is In virtue than in vengeance...