Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's TheatreCambridge University Press, 27 de jul. de 2000 - 298 páginas Robert Weimann redefines the relationship between writing and performance, or "playing," in Shakespeare's theater. Through close reading and careful analysis Weimann offers a reconsideration and redefinition of Elizabethan performance and production practices. The study reviews the most recent methodologies of textual scholarship, the new history of the Elizabethan theater, performance theory, and film and video interpretation, and offers a new approach to understanding Shakespeare. Weimann examines a range of plays as well as other contemporary works. A major part of the study explores the duality between playing and writing. |
De dentro do livro
Resultados 1-5 de 90
Página xii
... questions . In the concluding phase of the work I was fortunate ( and grateful to Ingeborg Boltz ) to have access to the Shakespeare - Bibliothek at Munich University just as , at earlier stages , I felt privileged to avail myself of ...
... questions . In the concluding phase of the work I was fortunate ( and grateful to Ingeborg Boltz ) to have access to the Shakespeare - Bibliothek at Munich University just as , at earlier stages , I felt privileged to avail myself of ...
Página 3
... questions that , from the point of view of Shakespeare criticism and scholarship , are troublesome rather than simply encouraging . In Raymond Williams ' phrase , " the attachment of writing " to the static form of print was a move away ...
... questions that , from the point of view of Shakespeare criticism and scholarship , are troublesome rather than simply encouraging . In Raymond Williams ' phrase , " the attachment of writing " to the static form of print was a move away ...
Página 5
... question of how and to what extent performance in Shakespeare's theatre actually was a formative element , a constituent force , and together with , or even without , the text a source of material and " imaginary puissance . " Even to ...
... question of how and to what extent performance in Shakespeare's theatre actually was a formative element , a constituent force , and together with , or even without , the text a source of material and " imaginary puissance . " Even to ...
Página 6
... question in our context needs to be formulated more cautiously . In regard to Renaissance theatrical transactions , the question is to what extent and to what purpose will " the once taken - for- granted model of the predominance of the ...
... question in our context needs to be formulated more cautiously . In regard to Renaissance theatrical transactions , the question is to what extent and to what purpose will " the once taken - for- granted model of the predominance of the ...
Página 7
... questions would require that , as evidence , we recover and / or read afresh some of the traces that help us envision an ... question is how Shake- speare " can be uncoupled from the decline of the book in an increasingly post - literate ...
... questions would require that , as evidence , we recover and / or read afresh some of the traces that help us envision an ... question is how Shake- speare " can be uncoupled from the decline of the book in an increasingly post - literate ...
Conteúdo
Performance and authority in Hamlet 1603 | 18 |
A new agenda for authority | 29 |
The low and ignorant crust of corruption | 31 |
Towards a circulation of authority in the theatre | 36 |
distraction in authority | 43 |
Pen and voice versions of doubleness | 54 |
Frivolous jestures vs matter of worthiness Tamburlaine | 56 |
Bifold authority in Troilus and Cressida | 62 |
Renaissance writing and common playing | 153 |
Unworthy antics in the glass of fashion | 161 |
When in one line two crafts directly meet | 169 |
Wordplay and the mirror of representation | 174 |
Space individable locus and platea revisited | 180 |
the locus | 182 |
provenance and function | 192 |
Locus and platea in Macbeth | 196 |
Unworthy scaffold for so great an object Henry V | 70 |
Playing with a difference | 79 |
To disfigure or to present A Midsummer Nights Dream | 80 |
To descant on difference and deformity Richard III | 88 |
The selfresembled show | 98 |
Presentation or the performant function | 102 |
Histories in Elizabethan performance | 109 |
Disparity in midElizabethan theatre history | 110 |
Reforming a whole theatre of others Hamlet | 121 |
From common player to excellent actor | 131 |
Differentiation exclusion withdrawal | 136 |
Hamlet and the purposes of playing | 151 |
Banqueting in Timon of Athens | 208 |
Shakespeares endings commodious thresholds | 216 |
Epilogues vs closure | 220 |
holiday into workaday | 226 |
Thresholds to memory and commodity | 234 |
cultural authority betwixtandbetween | 240 |
thresholds forever after | 246 |
Notes | 251 |
List of works cited | 269 |
289 | |
Outras edições - Ver todos
Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's Theatre Robert Weimann Prévia não disponível - 2000 |
Termos e frases comuns
acting action actor's voice actors Andrew Gurr antic Apemantus appears audience author's pen banquet bifold century character circulation of authority clown comedy common players context contrariety course criticism cultural authority deformity differentiation discourse disfigurement doubleness dramatic representation dramatic text dramaturgy element Elizabethan performance Elizabethan stage Elizabethan theatre epilogue function gesture Hamlet high Renaissance Histriomastix holy humanist imaginary implicated John Marston language least liminal literary locus and platea Macbeth marked matter medieval theatre memory Midsummer Night's Dream mimesis mirror mode notes oral performance practice phrase platea play's playhouse playtext poetics political present production Prologue purpose of playing Quarto question reading relations Renaissance represented rhetoric role scene semiotics sense serves Shakespeare's theatre signifying social spatial spectators speech Stephen Orgel suggest symbolic Tamburlaine textual theatrical space threshold tion traditional Troilus and Cressida unworthy scaffold verbal words writing and playing