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 178
... prologue of the period , a prologue Timoneda wrote for his ini- tial publication of several of Rueda's pasos in 1567 . Viniéndome a las manos , amantísimo lector , las comedias del excelente poeta y gracioso representante Lope de Rueda ...
... prologue of the period , a prologue Timoneda wrote for his ini- tial publication of several of Rueda's pasos in 1567 . Viniéndome a las manos , amantísimo lector , las comedias del excelente poeta y gracioso representante Lope de Rueda ...
Página 187
... ( Prologue , Registro 3 ) Unlike the earlier prologue , this one contains no reference to a reader , " amantissimo " or otherwise . In fact , the vocative is directed to the " representante , " and thus the implied reader of this text is ...
... ( Prologue , Registro 3 ) Unlike the earlier prologue , this one contains no reference to a reader , " amantissimo " or otherwise . In fact , the vocative is directed to the " representante , " and thus the implied reader of this text is ...
Página 188
... prologue , Timoneda does not iso- late Rueda's plays from their origins in orality ; he does not , for example , claim to put them in any specific order , thus implying a fixed sequence . Instead , he prefers to recognize the contin ...
... prologue , Timoneda does not iso- late Rueda's plays from their origins in orality ; he does not , for example , claim to put them in any specific order , thus implying a fixed sequence . Instead , he prefers to recognize the contin ...
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