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 37
... considered truly theatrical . For , if an actor can be found prior to Thespis , especially an actor who had very little to do with the dithyramb , then not only does he cease to be this marker , but the entire paradigm , dependent as it ...
... considered truly theatrical . For , if an actor can be found prior to Thespis , especially an actor who had very little to do with the dithyramb , then not only does he cease to be this marker , but the entire paradigm , dependent as it ...
Página 87
... considered respectable members of medieval society , they did not belong ( at least as far as their professional life is concerned ) to some kind of caste system that relegated them to one - and only one - mode of performance . Menéndez ...
... considered respectable members of medieval society , they did not belong ( at least as far as their professional life is concerned ) to some kind of caste system that relegated them to one - and only one - mode of performance . Menéndez ...
Página 116
... considered some of the best elements of Ginés's quintessentially cameleon - like career as a pícaro . Nevertheless , as far as we can tell , he has had no prior professional connec- tion to the theater before his decision to adopt a ...
... considered some of the best elements of Ginés's quintessentially cameleon - like career as a pícaro . Nevertheless , as far as we can tell , he has had no prior professional connec- tion to the theater before his decision to adopt a ...
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