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 90
Página iv
... Actors . 3. Theater- England - History - 16th century . 4. Theater - England - History - 17th century . 5. Actors - Great Britain - Biography . 6. Acting in literature . 7. Actors in literature . I. Title . PR3034.S58 1993 822.3'3 ...
... Actors . 3. Theater- England - History - 16th century . 4. Theater - England - History - 17th century . 5. Actors - Great Britain - Biography . 6. Acting in literature . 7. Actors in literature . I. Title . PR3034.S58 1993 822.3'3 ...
Página xi
... actor , on his relation to the playwright rather than to his audience ) , with not only explicit inner plays , but ... acting on an Elizabethan stage . Some per- formance critics emphasize the script as a set of directions for mimesis ...
... actor , on his relation to the playwright rather than to his audience ) , with not only explicit inner plays , but ... acting on an Elizabethan stage . Some per- formance critics emphasize the script as a set of directions for mimesis ...
Página 1
... actor ? As we know , sixteenth - century writers like Thomas More saw them- selves as actors caught in a script played out on the theatrum mundi , while others like Marlowe saw themselves as protean actors free to take what form they ...
... actor ? As we know , sixteenth - century writers like Thomas More saw them- selves as actors caught in a script played out on the theatrum mundi , while others like Marlowe saw themselves as protean actors free to take what form they ...
Página 2
... Actors in all these Playes , " and he was remembered as an actor long after . In 1640 he was still being eulogized as " that famous Writer and Actor , " and anecdotes about the roles he took were still circulating in the eighteenth ...
... Actors in all these Playes , " and he was remembered as an actor long after . In 1640 he was still being eulogized as " that famous Writer and Actor , " and anecdotes about the roles he took were still circulating in the eighteenth ...
Página 3
... actor . This book addresses the question of what it might have meant to be an actor in the sixteenth and early seventeenth centuries and moves on to the question of how Shakespeare's acting might have shaped his texts and the ...
... actor . This book addresses the question of what it might have meant to be an actor in the sixteenth and early seventeenth centuries and moves on to the question of how Shakespeare's acting might have shaped his texts and the ...
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 | |
Otras ediciones - Ver todas
Términos y frases comunes
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