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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... example of what I mean by " open address . ' Imagine that we could travel to late medieval Yorkshire and attend a performance of a play associated with the Corpus Christi festival , Towneley's The Killing of Abel . Its plot is based on ...
... example of what I mean by " open address . ' Imagine that we could travel to late medieval Yorkshire and attend a performance of a play associated with the Corpus Christi festival , Towneley's The Killing of Abel . Its plot is based on ...
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... examples Lan- cashire lists scriptural and secular plays in London and the provinces , court plays and revels , mummings and folk plays , univer- sity and school drama , travelling " noblemen's interludes " - all play- ing while guild ...
... examples Lan- cashire lists scriptural and secular plays in London and the provinces , court plays and revels , mummings and folk plays , univer- sity and school drama , travelling " noblemen's interludes " - all play- ing while guild ...
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... examples.5 As well as " then , " " there , " " now , " and " here , " other verbal markers are important in open address : the verbal positionings of speaker and listeners by deictic words , in particular the stage's " I , " " we ...
... examples.5 As well as " then , " " there , " " now , " and " here , " other verbal markers are important in open address : the verbal positionings of speaker and listeners by deictic words , in particular the stage's " I , " " we ...
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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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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