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 38
... play ” is performed around the Dionysian altar or on some kind of ambulant cart , while a " poem " is performed in the streets and public squares . Antigone , with its prevailing character dialogue , is therefore a play , while the ...
... play ” is performed around the Dionysian altar or on some kind of ambulant cart , while a " poem " is performed in the streets and public squares . Antigone , with its prevailing character dialogue , is therefore a play , while the ...
Página 156
... play - serves to underline the fact that the most important thing occurring on Sor Juana's stage is not mi- mesis , not the attempt to fool the audience into thinking that they are actually watching the lives of real people , but the ...
... play - serves to underline the fact that the most important thing occurring on Sor Juana's stage is not mi- mesis , not the attempt to fool the audience into thinking that they are actually watching the lives of real people , but the ...
Página 185
... play Bartholomew Fair acknowledges this authorial desire for unmediated contact with the audience by staging it unequivocally . The play opens with something of a " prologue " spoken by a " Stage - Keeper ” who enters and apologizes to ...
... play Bartholomew Fair acknowledges this authorial desire for unmediated contact with the audience by staging it unequivocally . The play opens with something of a " prologue " spoken by a " Stage - Keeper ” who enters and apologizes 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