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 8
... moves closer to guild play address , importing onto the scaffold the world of the people in the playhouse . Because it draws on the diverse physical reality in the playhouse , Shakespeare's open address refuses to allow the heroic , the ...
... moves closer to guild play address , importing onto the scaffold the world of the people in the playhouse . Because it draws on the diverse physical reality in the playhouse , Shakespeare's open address refuses to allow the heroic , the ...
Página 11
... moved me to see that medieval drama is not , as Rosemary Woolf describes it , a series of " speaking pictures " ( 101 ) ; instead , as Weimann has shown , it is a drama of dynamic and animated exchanges between characters and playgoers ...
... moved me to see that medieval drama is not , as Rosemary Woolf describes it , a series of " speaking pictures " ( 101 ) ; instead , as Weimann has shown , it is a drama of dynamic and animated exchanges between characters and playgoers ...
Página 13
... move and speak within a fic- tional " here and now , " which may or may not bear resemblances to the audience's place and time . In open address the stage looks frankly at the audience in their here and now . Because each staging system ...
... move and speak within a fic- tional " here and now , " which may or may not bear resemblances to the audience's place and time . In open address the stage looks frankly at the audience in their here and now . Because each staging system ...
Página 16
... move flu- idly between talking to one another and talking to the audience . In Towneley , York , Chester , and N - Town , as well as in the two frag- ments from Norwich and Coventry , figures from a distant history openly notice late ...
... move flu- idly between talking to one another and talking to the audience . In Towneley , York , Chester , and N - Town , as well as in the two frag- ments from Norwich and Coventry , figures from a distant history openly notice late ...
Página 19
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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