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" The truth is, that the spectators are always in their senses, and know, from the first act to the last, that the stage is only a stage, and that the players are only players. "
Historical and critical matter The tempest. Two gentlemen of Verona. Merry ... - Página 12
por William Shakespeare - 1811
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Gender in Play on the Shakespearean Stage: Boy Heroines and Female Pages

Michael Shapiro - 1996 - 282 páginas
...Most playgoers, however, are capable of the kind of dual consciousness described by Samuel Johnson: "the spectators are always in their senses, and know,...only a stage, and that the players are only players." 44 If Johnson is correct, spectators would not only have shared Cleopatra's fear, as Davies claims,...
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Philosophy of Meaning, Knowledge and Value in the Twentieth Century

C. C. W. Taylor, John V. Canfield, JV. Cranfield, G. H. R. Parkinson, Stuart G. Shanker, John Marenbon - 1997 - 466 páginas
...thought and behaviour in the face of artistic phenomena? Samuel Johnson's eighteenth-century answer was 'The truth is, that the spectators are always in their...only a stage, and that the players are only players' [13.30]. One's knowledge of the nature of an artistic activity, alluded to by Cohen [13.26] and myself...
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Shakespeare's Theory of Drama

Pauline Kiernan - 1998 - 218 páginas
...Johnson stresses the ficri tiousness of Shakespearean drama, and when he insists that the spectators 'know, from the first act to the last, that the stage...only a stage, and that the players are only players', he is denying that the play asks us to take it for real life.6 Coleridge thinks the spectator - temporarily...
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Closet Performances: Political Exhibition and Prohibition in the Dramas of ...

Michael Simpson - 1998 - 469 páginas
...dramatic illusion, seem to disagree only within parameters set by the Poetics. While Johnson maintains that "the spectators are always in their senses, and...only a stage, and that the players are only players" ("Preface to Shakespeare," Selections, 24), Coleridge insists that the audience makes no determination...
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Literature as Communication: The Foundations of Mediating Criticism

Roger D. Sell - 2000 - 348 páginas
...imaginative power necessary to follow what is happening. In point of fact, and as Johnson also spells out, "the spectators are always in their senses and know,...only a stage, and that the players are only players" (Johnson 1960 [1765]: 38). To which we need only add that the spectators also know that the whole thing...
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Shakespeare Survey, Volumen42

Stanley Wells - 2002 - 236 páginas
...paper invites us to reconsider this presupposition. I Samuel Johnson's claim that theatre audiences 'are always in their senses, and know, from the first...only a stage, and that the players are only players' is typical of its period.2 When they came to discuss the large matter of the relationship between artistic...
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The Oxford Handbook of Aesthetics

Jerrold Levinson - 2005 - 821 páginas
...direction. The major problem with this sort of position is succinctly stated by Dr Johnson, who states that 'The truth is, that the spectators are always in their...only a stage, and that the players are only players. . . . The delight of tragedy proceeds from our consciousness of fiction; if we thought murders and...
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The Cambridge Shakespeare Library: Shakespeare's times, texts, and stages

Catherine M. S. Alexander - 2003 - 3 páginas
...present paper invites us to reconsider this presupposition. Samuel Johnson's claim that theatre audiences 'are always in their senses, and know, from the first...only a stage, and that the players are only players' is typical of its period.2 When they came to discuss the large matter of the relationship between artistic...
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Das Phänomen der Boy Actors und ihr Publikum am englischen Hof und im ...

Anonym - 2007 - 36 páginas
...Schwäche, wenn man die Kränkungen persönlich nahm und nicht darüber hinweg sehen konnte. Die Anwesenden „The truth is, that the spectators are always in...only a stage, and that the players are only players." (SHAPIRO: 103) Obwohl SHAPIRO diese Ansicht nur zum Teil teilt, da er meint der Zuschauer wäre in...
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The Tragedy of King Lear: With Classic and Contemporary Criticisms

William Shakespeare - 2008 - 340 páginas
...position, which, while his breath is forming it into words, his understanding pronounces to be false There is no reason why a mind thus wandering in ecstasy...stage, and that the players are only players. They came to hear a certain number of lines recited with just gesture and elegant modulation. The lines...
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