Stages and Playgoers: From Guild Plays to ShakespeareMcGill-Queen's Press - MQUP, 5 de dez. de 2001 - 224 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 4
... audi- ence's side of the dialogue remains implicit . His words recognize that they are there with him , a solid presence . Cain speaks with his audi- ence , positioning its members openly as the other half of a conversa- tion . Whether ...
... audi- ence's side of the dialogue remains implicit . His words recognize that they are there with him , a solid presence . Cain speaks with his audi- ence , positioning its members openly as the other half of a conversa- tion . Whether ...
Página 5
... audi- ence only ; I consider it vital that the audience return the stage's gaze , that they be partners in the address . Open address runs through all types of medieval plays : folk drama ; morality plays , both early exam- ples such as ...
... audi- ence only ; I consider it vital that the audience return the stage's gaze , that they be partners in the address . Open address runs through all types of medieval plays : folk drama ; morality plays , both early exam- ples such as ...
Página 7
... audi- ence involvement . The book's impulse is always towards how var- ious speeches make contact with the playgoers ; it looks not only at what is said , but also at what kind of exchange is set up with audi- ences . In each case , I ...
... audi- ence involvement . The book's impulse is always towards how var- ious speeches make contact with the playgoers ; it looks not only at what is said , but also at what kind of exchange is set up with audi- ences . In each case , I ...
Página 10
... audi- ence . Michael Bristol has an extraordinary capacity for seeing how Bakhtin's ideas about real physical bodies matter deeply in early modern drama . Anne Higgins shows how vital it is to remember that real people watched – and had ...
... audi- ence . Michael Bristol has an extraordinary capacity for seeing how Bakhtin's ideas about real physical bodies matter deeply in early modern drama . Anne Higgins shows how vital it is to remember that real people watched – and had ...
Página 17
... audi- ences is to keep play and playgoer separate . These dramatic tech- niques , he says , are employed to remind the crowds that they have no place in the play ; in other words , to prevent the playgoers from losing themselves in the ...
... audi- ences is to keep play and playgoer separate . These dramatic tech- niques , he says , are employed to remind the crowds that they have no place in the play ; in other words , to prevent the playgoers from losing themselves in the ...
Conteúdo
3 | |
15 | |
2 Nonce Plays | 76 |
3 I Know You All | 109 |
4 Open Address in the Romances | 161 |
Notes | 185 |
Bibliography | 221 |
Index | 235 |
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Termos e frases comuns
Abraham acting action actors audi audience audience's Bevington biblical Blackfriars Cain characters Chester Christ close comic companies contemporary costumes court Coventry Cressida crowds Cymbeline devil early Elizabethan ence England English episode example Falstaff figure fool galleries goers Gower guild drama guild plays Gurr hall Hamlet Hattaway heaven Hell Henry Henry VI Herod Imogen impresario Jachimo James Burbage king King Lear Lear listeners lives loca locus London look Lord Mankind medieval drama morality plays N-Town never no-one Noah nonce drama nonce plays offers open address openly Pandarus performance Pericles platea play's players playgoers Playgoing playing space playworld playwrights Posthumus present Prologue Prospero public playhouses Pykharnes Richard romance scaffold servant Shakespeare shepherds soliloquies speaks spectators speech story strategies talk Tamburlaine tapster tell theatre theatrical thou tion Titus Andronicus Towneley Towneley's towns Tudor Twycross Tydeman watching Weimann words York York's Yorkshire þat