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
Jongleuresque Performance on the Early Spanish Stage Bruce R. Burningham. Thespis and the Jongleur I return then to Thespis - to my initial myth of origins - if only to deconstruct him . But in doing so , I do not wish to imply that I ...
Jongleuresque Performance on the Early Spanish Stage Bruce R. Burningham. Thespis and the Jongleur I return then to Thespis - to my initial myth of origins - if only to deconstruct him . But in doing so , I do not wish to imply that I ...
Página 42
... thespis aoidê " ) when referring to the divine singing of Demodocus and Phemius , Else argues that the name must have derived from these Homeric passages , and that it explicitly serves to tie Thespis to the tradition of bardic ...
... thespis aoidê " ) when referring to the divine singing of Demodocus and Phemius , Else argues that the name must have derived from these Homeric passages , and that it explicitly serves to tie Thespis to the tradition of bardic ...
Página 175
... Thespis not solely to the development of the comedia , but to the entire project of the Renaissance as well . By invoking the Thespis myth , Cervantes implicitly compares the development of the complex national theater of Spain with ...
... Thespis not solely to the development of the comedia , but to the entire project of the Renaissance as well . By invoking the Thespis myth , Cervantes implicitly compares the development of the complex national theater of Spain with ...
Conteúdo
Introduction | 1 |
Chapter One Reinventing Thespis | 13 |
Chapter Two Singers of Tales on Simple Stages | 50 |
Direitos autorais | |
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actors ancient argues Arte nuevo ater audience Bakhtin ballad become cantares de gesta carnival carnivalesque Cervantes Cervantes's chapter character dialogue City Dionysia classical comedia commedia dell'arte corral course create critical culture demonstrates Don Quijote Don Quixote dramatists early modern Spanish early Spanish stage Encina entremeses epic exist fact films formance function Hespèrion XX Huston inscribed jongleur jongleuresque performance juglares kind literary text liturgical drama Lope de Rueda Lope de Vega Lope's Madrid Maese Pedro mance medieval jongleuresque tradition medieval performance Menéndez Pidal multiform narrative narrator oral original performance event performance space performance text performance tradition picaresque pícaro play players playwrights Poesía poetics popular precisely prologue puppet show Quijote radical theatricality Renaissance ritual romance Romancero Rueda Scala's Schechner scholars Shakespeare simple stage sing singer singer of tales song Spain Spanish theater specific spectacle story teatro textual Thespis myth Timoneda tion villancico voice Waverly Consort Western words