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 13
... Myth I begin with a myth of origins . Like all good myths this one has a hero ; like all good myths it owes its interpretive authority to its own misty antiquity ; and like all good myths it lends it- self to infinite re ...
... Myth I begin with a myth of origins . Like all good myths this one has a hero ; like all good myths it owes its interpretive authority to its own misty antiquity ; and like all good myths it lends it- self to infinite re ...
Página 15
... myth ( both on its own terms and as a descriptive historiographical model ) reveals that this legend has bequeathed to us three essential critical assumptions about the nature of theater . First , the Thespis myth asserts that theater ...
... myth ( both on its own terms and as a descriptive historiographical model ) reveals that this legend has bequeathed to us three essential critical assumptions about the nature of theater . First , the Thespis myth asserts that theater ...
Página 21
... myth . “ Genuine ” the- ater demands : first , a text that can be defined a priori as a play ( note that character dialogue continues to be the mediating fac- tor ) ; second , a space that can be defined a priori as a stage ; and third ...
... myth . “ Genuine ” the- ater demands : first , a text that can be defined a priori as a play ( note that character dialogue continues to be the mediating fac- tor ) ; second , a space that can be defined a priori as a stage ; and third ...
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