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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... crowds . Open acknowledgement of audience pres- ence is a very prominent part of this episode : the scurrilous duo of Cain and Pykeharnes , as well as God , all speak directly to the play- goers . Here is Cain after realizing he cannot ...
... crowds . Open acknowledgement of audience pres- ence is a very prominent part of this episode : the scurrilous duo of Cain and Pykeharnes , as well as God , all speak directly to the play- goers . Here is Cain after realizing he cannot ...
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... crowds . He is speaking specifically about Yorkshire , the actual place and the present time . He is scoffing at its people themselves ; to Cain it is Wakefield's people who aren't worth a fart . Despite being cursed by God , he asserts ...
... crowds . He is speaking specifically about Yorkshire , the actual place and the present time . He is scoffing at its people themselves ; to Cain it is Wakefield's people who aren't worth a fart . Despite being cursed by God , he asserts ...
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... crowds watching them ( see Davidson , 3 ) . They do not allegorize or romanticize their audiences . Instead , they dramatize the daily , job - ridden lives of the playgoers . It is this , above all , that I want to talk about : the ...
... crowds watching them ( see Davidson , 3 ) . They do not allegorize or romanticize their audiences . Instead , they dramatize the daily , job - ridden lives of the playgoers . It is this , above all , that I want to talk about : the ...
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... crowds ' lives into the plays and makes direct speeches to 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 ...
... crowds ' lives into the plays and makes direct speeches to 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 ...
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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