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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... represent the kind of radical theatricality depicted within the pages of the picaresque novel . The lives of these three early modern performers span what is arguably the most fecund period of Western theater his- tory . Theirs is the ...
... represent the kind of radical theatricality depicted within the pages of the picaresque novel . The lives of these three early modern performers span what is arguably the most fecund period of Western theater his- tory . Theirs is the ...
Página 190
... represent a “ rustic ” approach to the stage . These " clowns " are not socio- paths who consciously undermine the ... represented ( although in a much less vituperative fashion ) than in an earlier play by Shakespeare , A Midsummer ...
... represent a “ rustic ” approach to the stage . These " clowns " are not socio- paths who consciously undermine the ... represented ( although in a much less vituperative fashion ) than in an earlier play by Shakespeare , A Midsummer ...
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... represent Pyramus's vocal inflection as he calls out to his love , while “ Ah , Pyramus , my lover dear ! thy Thisby dear , and lady dear ! " represents her response . 6. While I have cited The Riverside Shakespeare throughout , I have ...
... represent Pyramus's vocal inflection as he calls out to his love , while “ Ah , Pyramus , my lover dear ! thy Thisby dear , and lady dear ! " represents her response . 6. While I have cited The Riverside Shakespeare throughout , I have ...
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