Seneca by Candlelight and Other Stories of Renaissance DramaUniversity of Pennsylvania Press, 1997 - 201 Seiten "English Seneca read by candlelight", wrote the Elizabethan author Thomas Nashe, "will afford you whole Hamlets". In the early decades of this century, literary and theater historians took Nashe at his word, finding Senecan tragedy at the source of Renaissance drama. More recently, critics have been inclined to dismiss traces of classical antiquity as a superficial veneer on a drama derived from medieval traditions. In Seneca by Candlelight Lorraine Helms revisits this terrain to explore the rich and various ways in which classical learning shaped the theatrical culture of the Renaissance. Grounding her book as much in her own experiences as a performer as on her easy command of literary and social history, Helms uncovers the practical advice on acting and stagecraft to be found in the writings of ancient rhetoricians; reconstructs the extraordinary circumstances under which an English woman first rendered Euripides into her native language; and ponders the precedents in antiquity for Elizabethan portrayals of prostitution and female martyrdom. |
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Seite 102
... Portia's wound , she may encounter a pathos of her own . Pathos and Praxis For the next seventeen years , I forgot how Portia's blood had ... Portia and Brutus , the textual and subtextual resonances of Portia's wound 102 Voluntary Wounds.
... Portia's wound , she may encounter a pathos of her own . Pathos and Praxis For the next seventeen years , I forgot how Portia's blood had ... Portia and Brutus , the textual and subtextual resonances of Portia's wound 102 Voluntary Wounds.
Seite 103
... Portia's words shape both the dramatic fiction of a woman's injury and the theatri- cal occasion for an actor's discipline . That discipline may transform the pain of Portia's wound into the player's pleasure and triumph . Shakespearean ...
... Portia's words shape both the dramatic fiction of a woman's injury and the theatri- cal occasion for an actor's discipline . That discipline may transform the pain of Portia's wound into the player's pleasure and triumph . Shakespearean ...
Seite 117
... Portia's courage through her vulnerability ; in my forties , I learned how her erotic energy drives the orchard scene . Portia is proud to be the daughter of dour Cato , proud to be Brutus's wife rather than his harlot , proud that ...
... Portia's courage through her vulnerability ; in my forties , I learned how her erotic energy drives the orchard scene . Portia is proud to be the daughter of dour Cato , proud to be Brutus's wife rather than his harlot , proud that ...
Inhalt
Prologue I | 1 |
Iphigenia in Durham | 48 |
The Saint in the Brothel | 76 |
Urheberrecht | |
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Seneca by Candlelight and Other Stories of Renaissance Drama Lorraine Helms Eingeschränkte Leseprobe - 2017 |
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akribeia argues arguments Arundel audience bawds body boy actor boy player brothel Cambridge character chastity children's companies Christian classical Cleopatra clown controversia corpse criticism culture daughter dead death declamation discourse discussion early modern elegy elite Elizabethan eloquence England English essays Euripides father feminist gender Greek grief Harbage Henry Henry VI heraldic funeral Iphigenia Jane Grey Jane Lumley John Lady Jane Lady Jane Grey lament Latin Lavinia learned literary London Lucrece Lumley's text Margaret Marina marriage medieval mise en scène misogyny mourning narrative orator performance Pericles platea play players playgoers playwrights political popular Portia's private playhouses Prostitute Priestess public playhouse Publius Vinicius rape Renaissance Renaissance drama rhetorical rhetorical tradition rites ritual roles Roman sacrifice saints scene scholars Seneca by Candlelight Senecan Senecan tragedy Shakespeare social Sophonisba stage stories subtext suicide theater theatrical Thomas thou tion Titus Andronicus tragedy tragic translation trouble Tudor University Press violence Voluntary Wounds woman women