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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... characters is in no way diminished when performed by a lone actor . In many performances ( and for many reasons ) a single actor will play two or more roles . Some playwrights , such as Dale Wasserman in Man of La Mancha , explicitly ...
... characters is in no way diminished when performed by a lone actor . In many performances ( and for many reasons ) a single actor will play two or more roles . Some playwrights , such as Dale Wasserman in Man of La Mancha , explicitly ...
Página 81
... characters , but that of the singer . Still , as with most stories , including those performed orally in the Decameron and the Canterbury Tales , this one in- cludes the speech of the characters involved , and it is in this character ...
... characters , but that of the singer . Still , as with most stories , including those performed orally in the Decameron and the Canterbury Tales , this one in- cludes the speech of the characters involved , and it is in this character ...
Página 154
... characters ( such as fools and clowns ) who " move about in a neutral area rub- bing shoulders with the plebeian audience " ( 79 ) , whereas the locus is dominated ( but not exclusively given over to ) high- born characters who seem to ...
... characters ( such as fools and clowns ) who " move about in a neutral area rub- bing shoulders with the plebeian audience " ( 79 ) , whereas the locus is dominated ( but not exclusively given over to ) high- born characters who seem to ...
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