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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... contemporary performances . Stages and Playgoers will be invaluable for students of cultural stud- ies , medieval and Renaissance studies , theatre history , and stagecraft . JANET HILL is assistant professor in the Department of ...
... contemporary performances . Stages and Playgoers will be invaluable for students of cultural stud- ies , medieval and Renaissance studies , theatre history , and stagecraft . JANET HILL is assistant professor in the Department of ...
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... contemporary , local world . Here I return to my term : When playgoers are openly addressed , when their reality is made an integral part of the play , as in The Killing of Abel , then what I call " open address " is taking place . This ...
... contemporary , local world . Here I return to my term : When playgoers are openly addressed , when their reality is made an integral part of the play , as in The Killing of Abel , then what I call " open address " is taking place . This ...
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... contemporary performances of medieval plays teach us a great deal about ourselves as audiences and players , but what we learn from them about medieval practices and responses is much more problematic . In chapter 1 , I examine the ...
... contemporary performances of medieval plays teach us a great deal about ourselves as audiences and players , but what we learn from them about medieval practices and responses is much more problematic . In chapter 1 , I examine the ...
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... contemporary attitudes to early dramatic production . I have used REED research extensively . However , because more historical data remain to be dis- covered , and much remains to be learned about how to interpret what has already been ...
... contemporary attitudes to early dramatic production . I have used REED research extensively . However , because more historical data remain to be dis- covered , and much remains to be learned about how to interpret what has already been ...
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... contemporary documents , whether or not the performances fell on the liturgical occasion that gave them their name . In spite of some difficulties about the degree to which trade guilds were involved in dramatic productions , I have ...
... contemporary documents , whether or not the performances fell on the liturgical occasion that gave them their name . In spite of some difficulties about the degree to which trade guilds were involved in dramatic productions , I have ...
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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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