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 43
... less theatrical - by which I mean here , no less mimetic - than its post - Thespian , dramatic coun- terpart . In fact , rhapsodic performance is all the more essential because it does not depend on some kind of material referent ...
... less theatrical - by which I mean here , no less mimetic - than its post - Thespian , dramatic coun- terpart . In fact , rhapsodic performance is all the more essential because it does not depend on some kind of material referent ...
Página 132
... Less traditional examinations such as Harold Bloom's well - known work The Anxiety of Influence attempt to trace a less direct type of influence by determining how one writer's work generally affects that of another ; or , in Bloom's ...
... Less traditional examinations such as Harold Bloom's well - known work The Anxiety of Influence attempt to trace a less direct type of influence by determining how one writer's work generally affects that of another ; or , in Bloom's ...
Página 223
... less evolved " precursor " to theater . For him , these five categories of perfor- mance are something like the Romance languages : they all spring from the same source ( i.e. , the human drive to play ) , but none is a less sophis ...
... less evolved " precursor " to theater . For him , these five categories of perfor- mance are something like the Romance languages : they all spring from the same source ( i.e. , the human drive to play ) , but none is a less sophis ...
Conteúdo
Introduction | 1 |
Chapter One Reinventing Thespis | 13 |
Chapter Two Singers of Tales on Simple Stages | 50 |
Direitos autorais | |
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Termos e frases comuns
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