Radical Theatricality: Jongleuresque Performance on the Early Spanish StagePurdue University Press, 2007 - 260 páginas Radical Theatricality argues that our narrow search for extant medieval play scripts depends entirely on a definition of theater far more literary than performative. This literary definition pushes aside some of our best evidence of Spain's medieval performance traditions precisely because this evidence is considered either intangible or "un-dramatic" (that is, monologic). By focusing on the dialogic relationship that inherently exists between performer and spectator in performance--rather than on the kind of literary dialogue between characters traditionally associated with drama--Radical Theatricality diachronically examines the performative poetics of the jongleuresque tradition (broadly defined to encompass such disparate performers as ancient Greek rhapsodes and contemporary Nobel Laureate Dario Fo) and synchronically traces its performative impact on the Spanish theater of the sixteenth and seventeenth centuries. |
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Página 103
... Rueda . Rueda's pasos - which were published posthumously by Timoneda between 1567 and 1570 - achieve the kind of dra- matic literary status denied to Tarlton's jests and Scala's sce- narios precisely because Rueda's works bear all the ...
... Rueda . Rueda's pasos - which were published posthumously by Timoneda between 1567 and 1570 - achieve the kind of dra- matic literary status denied to Tarlton's jests and Scala's sce- narios precisely because Rueda's works bear all the ...
Página 173
... Rueda , varón insigne en la representación y en el entendimiento . ( " Prólogo al lector " 7-8 ) Obviously , by assigning him pride of place in the history of the early Spanish stage , Cervantes transforms Rueda from just one among many ...
... Rueda , varón insigne en la representación y en el entendimiento . ( " Prólogo al lector " 7-8 ) Obviously , by assigning him pride of place in the history of the early Spanish stage , Cervantes transforms Rueda from just one among many ...
Página 202
... Rueda was an inheritor of the classical art , a writer whose commitment to Aristotelianism was plainly manifest in his respect for the unities . Rueda initially seems then to be a literary stalwart whose fine example has been betrayed ...
... Rueda was an inheritor of the classical art , a writer whose commitment to Aristotelianism was plainly manifest in his respect for the unities . Rueda initially seems then to be a literary stalwart whose fine example has been betrayed ...
Conteúdo
Introduction | 1 |
Chapter One Reinventing Thespis | 13 |
Chapter Two Singers of Tales on Simple Stages | 50 |
Direitos autorais | |
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activities actors actually Ages ancient argues attempt audience ballad become begins calls century Cervantes chapter characters classical clearly comedia complex considered continued corral course create critical culture demonstrates dialogue discussion drama early modern elements entire established event examined exist fact figure finally formers function important instance Italy jongleur jongleuresque performance kind least less literary literature Lope Madrid mance mean medieval move myth narrative narrator notes occurs oral original particular performance tradition perhaps play poetics popular precisely present production prologue puppet question reader remains represent ritual romance Rueda scholars seen separation simple simple stage sing singer song space Spanish Spanish stage specific spectators stage story street teatro telling term theater theatrical theory Thespis tion various voice Western written