Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's TheatreCambridge University Press, 2000 M07 27 - 298 páginas Robert Weimann redefines the relationship between writing and performance, or "playing," in Shakespeare's theater. Through close reading and careful analysis Weimann offers a reconsideration and redefinition of Elizabethan performance and production practices. The study reviews the most recent methodologies of textual scholarship, the new history of the Elizabethan theater, performance theory, and film and video interpretation, and offers a new approach to understanding Shakespeare. Weimann examines a range of plays as well as other contemporary works. A major part of the study explores the duality between playing and writing. |
Dentro del libro
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Página 1
... constituting a new paradigm bridging several disciplines , the study of theatrical performance has , somehow , remained in the doldrums . As Richard Schechner declared in a Tulane Drama Review editorial ( 1992 ) : " The new paradigm is ...
... constituting a new paradigm bridging several disciplines , the study of theatrical performance has , somehow , remained in the doldrums . As Richard Schechner declared in a Tulane Drama Review editorial ( 1992 ) : " The new paradigm is ...
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... constitute different , although of course partially overlapping registers of perception , enjoyment , and involvement . In order to address the sites of conjunction , interplay , and duplication where " in one line two crafts directly ...
... constitute different , although of course partially overlapping registers of perception , enjoyment , and involvement . In order to address the sites of conjunction , interplay , and duplication where " in one line two crafts directly ...
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... constitutes an " immediate and con- crete " place ( 19 ) . It seems difficult to grasp the full significance of the ... constitute agencies for writing and playing . In using terms like " pen " or " voice " or , at least as often ...
... constitutes an " immediate and con- crete " place ( 19 ) . It seems difficult to grasp the full significance of the ... constitute agencies for writing and playing . In using terms like " pen " or " voice " or , at least as often ...
Página 13
... constitute distinct , socially marked locations of cultural authority . Although in the present project I can attend to issues of theory only in passing , the concept of ' agency , ' especially when used in conjunction with ' difference ...
... constitute distinct , socially marked locations of cultural authority . Although in the present project I can attend to issues of theory only in passing , the concept of ' agency , ' especially when used in conjunction with ' difference ...
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Lo sentimos, el contenido de esta página está restringido..
Lo sentimos, el contenido de esta página está restringido..
Contenido
Performance and authority in Hamlet 1603 | 18 |
A new agenda for authority | 29 |
The low and ignorant crust of corruption | 31 |
Towards a circulation of authority in the theatre | 36 |
distraction in authority | 43 |
Pen and voice versions of doubleness | 54 |
Frivolous jestures vs matter of worthiness Tamburlaine | 56 |
Bifold authority in Troilus and Cressida | 62 |
Renaissance writing and common playing | 153 |
Unworthy antics in the glass of fashion | 161 |
When in one line two crafts directly meet | 169 |
Wordplay and the mirror of representation | 174 |
Space individable locus and platea revisited | 180 |
the locus | 182 |
provenance and function | 192 |
Locus and platea in Macbeth | 196 |
Unworthy scaffold for so great an object Henry V | 70 |
Playing with a difference | 79 |
To disfigure or to present A Midsummer Nights Dream | 80 |
To descant on difference and deformity Richard III | 88 |
The selfresembled show | 98 |
Presentation or the performant function | 102 |
Histories in Elizabethan performance | 109 |
Disparity in midElizabethan theatre history | 110 |
Reforming a whole theatre of others Hamlet | 121 |
From common player to excellent actor | 131 |
Differentiation exclusion withdrawal | 136 |
Hamlet and the purposes of playing | 151 |
Banqueting in Timon of Athens | 208 |
Shakespeares endings commodious thresholds | 216 |
Epilogues vs closure | 220 |
holiday into workaday | 226 |
Thresholds to memory and commodity | 234 |
cultural authority betwixtandbetween | 240 |
thresholds forever after | 246 |
Notes | 251 |
List of works cited | 269 |
289 | |
Otras ediciones - Ver todas
Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's Theatre Robert Weimann Sin vista previa disponible - 2000 |
Términos y frases comunes
acting action actor's voice actors Andrew Gurr antic Apemantus appears audience author's pen banquet bifold century character circulation of authority clown comedy common players context contrariety course criticism cultural authority deformity differentiation discourse disfigurement doubleness dramatic representation dramatic text dramaturgy element Elizabethan performance Elizabethan stage Elizabethan theatre epilogue function gesture Hamlet high Renaissance Histriomastix holy humanist imaginary implicated John Marston language least liminal literary locus and platea Macbeth marked matter medieval theatre memory Midsummer Night's Dream mimesis mirror mode notes oral performance practice phrase platea play's playhouse playtext poetics political present production Prologue purpose of playing Quarto question reading relations Renaissance represented rhetoric role scene semiotics sense serves Shakespeare's theatre signifying social spatial spectators speech Stephen Orgel suggest symbolic Tamburlaine textual theatrical space threshold tion traditional Troilus and Cressida unworthy scaffold verbal words writing and playing
Referencias a este libro
Maps and Memory in Early Modern England: A Sense of Place Rhonda Lemke Sanford Sin vista previa disponible - 2002 |