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 6
... critical assumptions employed by scholars and critics . As will become apparent , however , my broad methodology does have the distinct advan- tage of shedding light on intertextualities that have generally been excluded from critical ...
... critical assumptions employed by scholars and critics . As will become apparent , however , my broad methodology does have the distinct advan- tage of shedding light on intertextualities that have generally been excluded from critical ...
Página 15
... critical assumptions about the nature of theater . First , the Thespis myth asserts that theater emerges out of ritual , specifically religious ritual . Sec- ond , it insists that theater emerges when an already existing choral mass ...
... critical assumptions about the nature of theater . First , the Thespis myth asserts that theater emerges out of ritual , specifically religious ritual . Sec- ond , it insists that theater emerges when an already existing choral mass ...
Página 160
... critical awe , remembering him as one of the " founders " of the Spanish national theater , his own aristocratic patrons probably did not distinguish him in any real sense from the lowly court jester they perhaps employed the year ...
... critical awe , remembering him as one of the " founders " of the Spanish national theater , his own aristocratic patrons probably did not distinguish him in any real sense from the lowly court jester they perhaps employed the year ...
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