Shakespeare the Actor and the Purposes of PlayingUniversity of Chicago Press, 1993 - 325 páginas For the Renaissance, all the world may have been a stage and all its people players, but Shakespeare was also an actor on the literal stage. Meredith Anne Skura asks what it meant to be an actor in Shakespeare's England and shows why a knowledge of actual theatrical practices is essential for understanding both Shakespeare's plays and the theatricality of everyday life in early modern England. Despite the obvious differences between our theater and Shakespeare's, sixteenth-century testimony suggests that the experience of acting has not changed much over the centuries. Beginning with a psychoanalytically informed account of acting today, Skura shows how this intense and ambivalent experience appears not only in literal references to acting in Shakespearean drama but also in recurring narrative concerns, details of language, and dramatic strategies used to engage the audience. Looking at the plays in the context of both public and private worlds outside the theater, Skura rereads the canon to identify new configurations in the plays and new ways of understanding theatrical self-consciousness in Renaissance England. Rich in theatrical, psychoanalytic, biographical, and historical insight, this book will be invaluable to students of Shakespeare and instructive to all readers interested in the dynamics of performance. |
Dentro del libro
Resultados 1-5 de 72
Página ix
... Drama , or rather the theater , is the most obvious intersection of public and private , and this was even more true in sixteenth- and seventeenth- century England . The dichotomy between public and private of course meant something ...
... Drama , or rather the theater , is the most obvious intersection of public and private , and this was even more true in sixteenth- and seventeenth- century England . The dichotomy between public and private of course meant something ...
Página x
... drama , shaping the architecture of the stage , the language of the plays ( where " act " and " play " take on double meaning and characters often see their experience as tragedy or pageant ) , the scripted action ( often with literal ...
... drama , shaping the architecture of the stage , the language of the plays ( where " act " and " play " take on double meaning and characters often see their experience as tragedy or pageant ) , the scripted action ( often with literal ...
Página xiii
... Drama 1558-1642 ( New York and London : Garland Publishing , 1986 ) . Nondramatic texts are indicated by an asterisk . Bibliographic details for twentieth - century texts are given at first citation in the endnotes . * The Actors ...
... Drama 1558-1642 ( New York and London : Garland Publishing , 1986 ) . Nondramatic texts are indicated by an asterisk . Bibliographic details for twentieth - century texts are given at first citation in the endnotes . * The Actors ...
Página xiv
... Drama Series . Lincoln : University of Ne- braska Press , 1968 . * G [ ainsford ? ] , T. The Rich Cabinet Furnished with Varietie of Descriptions . In Hazlitt , English Drama and Stage , 228-30 . * Golding , Arthur . Shakespeare's Ovid ...
... Drama Series . Lincoln : University of Ne- braska Press , 1968 . * G [ ainsford ? ] , T. The Rich Cabinet Furnished with Varietie of Descriptions . In Hazlitt , English Drama and Stage , 228-30 . * Golding , Arthur . Shakespeare's Ovid ...
Página xv
... Drama Series . Lincoln : University of Nebraska Press , 1965 . Middleton , Thomas , and Thomas Dekker . The Roaring Girl , ed . Andor Gomme . The New Mermaids . London : Ernest Benn ; New York : W. W. Norton , 1976 . Munday , Anthony ...
... Drama Series . Lincoln : University of Nebraska Press , 1965 . Middleton , Thomas , and Thomas Dekker . The Roaring Girl , ed . Andor Gomme . The New Mermaids . London : Ernest Benn ; New York : W. W. Norton , 1976 . Munday , Anthony ...
Contenido
IV | 9 |
V | 29 |
VI | 30 |
VII | 46 |
VIII | 57 |
IX | 64 |
X | 73 |
XI | 85 |
XIX | 144 |
XX | 149 |
XXI | 158 |
XXII | 166 |
XXIII | 169 |
XXIV | 179 |
XXV | 183 |
XXVI | 191 |
XII | 88 |
XIII | 95 |
XIV | 106 |
XV | 115 |
XVII | 129 |
XVIII | 140 |
XXVII | 195 |
XXVIII | 203 |
XXIX | 225 |
XXX | 235 |
315 | |
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Actaeon acting Anne Antony Arden Armado attack audience audience's baiting Barber and Wheeler bearbaiting beggar Bottom Brutus Caesar called Callow chapter character child cited in Chambers clown Comedy Coriolanus crowd crown death deer describes Drama dream Elizabethan Stage English Epilogue Fairy Falstaff fantasies father fawning fear flattering fool Hal's Hamlet Henriad Henry Henry IV Henry VI Histriomastix histrionic hunt identified inner plays italics added John John Marston Jonson King King Lear kneel Launce Lear literally London Lord Love's Labour's Lost male Midsummer Night's Dream mirror mother murder narcissistic offstage onstage performance play's players poet Queen Renaissance Richard Richard III role says scene Shake Shakespeare shame Shrew Sly's social sonnet speare's stage fright story suggests Tarlton tells theater theatrical thee Thomas thou Timon Timon of Athens Titus Titus Andronicus University Press Wives wounds York