Stages and Playgoers: From Guild Plays to ShakespeareMcGill-Queen's Press - MQUP, 2002 - 241 páginas The tradition of direct address has little to do with the frequently touted notion of the "fluidity of the Renaissance stage": the point is not that stage characters can talk to the audience but that they actually do reach out to the playgoers and in so doing import aspects of the audience world to the stage. These exchanges appear frequently in late-medieval drama and continue to be crucial stage strategies for Shakespeare, in whose work they grow and change. By examining a native dramatic tradition not fully explored before, Hill proposes new ways to imagine historical and contemporary performances. Stages and Playgoers will be invaluable for students of cultural studies, medieval and Renaissance studies, theatre history, and stagecraft. |
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Página 5
... close involvement of the audience by the stage in the drama of this period is widely recognized . Susan Bennett sums up the general view when she writes that " medieval and sixteenth - century audiences ... func- tioned in an active ...
... close involvement of the audience by the stage in the drama of this period is widely recognized . Susan Bennett sums up the general view when she writes that " medieval and sixteenth - century audiences ... func- tioned in an active ...
Página 7
... close of Shakespeare's career , can be consid- ered as openly talking to its audience . In his Dramatic Texts and Records of Britain : A Chronological Topography to 1558 , Ian Lancashire cautions against holding an " evolutionary ...
... close of Shakespeare's career , can be consid- ered as openly talking to its audience . In his Dramatic Texts and Records of Britain : A Chronological Topography to 1558 , Ian Lancashire cautions against holding an " evolutionary ...
Página 10
... close read- ings of stage address . Anne Righter's ( Barton's ) study of medieval and early modern drama is immensely important . I admire this work , although , as will become apparent later , I find myself disagreeing with almost ...
... close read- ings of stage address . Anne Righter's ( Barton's ) study of medieval and early modern drama is immensely important . I admire this work , although , as will become apparent later , I find myself disagreeing with almost ...
Página 11
... close . We are both interested in " a ' bridging across ' or communica- tive carrying through of effect from stage to audience " ( xi ) . Mooney argues , as I do , that Shakespeare " reached out from the hemisphere of actors to a second ...
... close . We are both interested in " a ' bridging across ' or communica- tive carrying through of effect from stage to audience " ( xi ) . Mooney argues , as I do , that Shakespeare " reached out from the hemisphere of actors to a second ...
Página 17
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Conteúdo
Oure Play | 15 |
Nonce Plays | 76 |
I Know You All | 109 |
Open Address in the Romances | 161 |
Notes | 185 |
221 | |
235 | |
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Abraham action actors audi audience audience's Bevington biblical Blackfriars Cain Cambridge University Press characters Chester Christ close comic companies contemporary Corpus Christi costumes court Coventry crowds Cymbeline David Bevington devil early Elizabethan ence England English Drama episode Falstaff figure fool Fulgens and Lucrece galleries goers Gower guild drama guild plays Gurr Hamlet Hattaway heaven Hell Henry Herod Imogen impresario Interludes Jachimo James Burbage John kill king King Lear Lear listeners lives loca London look Lord medieval drama Medieval Theatre modern morality plays N-Town never no-one Noah nonce plays open address openly Pandarus performance platea play's players playgoers Playgoing playing space playworld playwrights Posthumus present Prologue Prospero public playhouses Renaissance Drama Richard romance scaffold servant Shakespeare shepherds soliloquies speaks spectators speech story strategies talk tapster tell theatre theatrical thou tion Towneley Towneley's towns tradition Tudor Twycross Tydeman watching Weimann words York York's þat