Radical Theatricality: Jongleuresque Performance on the Early Spanish StagePurdue University Press, 2007 - 260 páginas Radical Theatricality argues that our narrow search for extant medieval play scripts depends entirely on a definition of theater far more literary than performative. This literary definition pushes aside some of our best evidence of Spain's medieval performance traditions precisely because this evidence is considered either intangible or "un-dramatic" (that is, monologic). By focusing on the dialogic relationship that inherently exists between performer and spectator in performance--rather than on the kind of literary dialogue between characters traditionally associated with drama--Radical Theatricality diachronically examines the performative poetics of the jongleuresque tradition (broadly defined to encompass such disparate performers as ancient Greek rhapsodes and contemporary Nobel Laureate Dario Fo) and synchronically traces its performative impact on the Spanish theater of the sixteenth and seventeenth centuries. |
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Página 19
... actually impeded the development of medieval Spanish drama . Robert Morrison , for instance , has argued that a local Spanish priest , " sensing the divine mission of his Church to preserve traditional beliefs and practices , and ...
... actually impeded the development of medieval Spanish drama . Robert Morrison , for instance , has argued that a local Spanish priest , " sensing the divine mission of his Church to preserve traditional beliefs and practices , and ...
Página 23
... actually tie Celestina to a potential performance on a particu- lar stage sometime around the turn of the sixteenth century . For , without the church portals that partially grant the mystery play its dramatic status , without the ...
... actually tie Celestina to a potential performance on a particu- lar stage sometime around the turn of the sixteenth century . For , without the church portals that partially grant the mystery play its dramatic status , without the ...
Página 25
... actually call it " theater . " He does not call this section , for instance , " El juglar como actor " even though he frequently employs the verb actuar to describe the jongleur's public presentation of text . For Menéndez Pidal , these ...
... actually call it " theater . " He does not call this section , for instance , " El juglar como actor " even though he frequently employs the verb actuar to describe the jongleur's public presentation of text . For Menéndez Pidal , these ...
Página 26
... , and architectural designs that we find in this scholarship actually tells us relatively little about the particular performances that occurred on the stages exam- ined . For , even if the theater could be 26 Chapter One.
... , and architectural designs that we find in this scholarship actually tells us relatively little about the particular performances that occurred on the stages exam- ined . For , even if the theater could be 26 Chapter One.
Página 36
... actually read it . The fact that this text begins with an " oration , " ends with a " cantar de ciegos , " and episodically varies its material throughout its pages sug- gests that the entire structure of the work is informed by a fa ...
... actually read it . The fact that this text begins with an " oration , " ends with a " cantar de ciegos , " and episodically varies its material throughout its pages sug- gests that the entire structure of the work is informed by a fa ...
Conteúdo
13 | |
50 | |
Picaresque Actors and Their Theater | 90 |
Corralling the Jongleuresque | 132 |
Playwrights and the Actorly Text | 171 |
Conclusion | 215 |
Notes | 221 |
Bibliography | 231 |
Index | 247 |
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Termos e frases comuns
actors ancient argues Arte nuevo ater audience Bakhtin ballad become cantares de gesta carnival carnivalesque Cervantes Cervantes's chapter character dialogue City Dionysia classical comedia commedia dell'arte corral course create critical culture demonstrates Don Quijote Don Quixote dramatists early modern Spanish early Spanish stage Encina entremeses epic exist fact films formance function Hespèrion XX Huston inscribed jongleur jongleuresque performance juglares kind literary text liturgical drama Lope de Rueda Lope de Vega Lope's Madrid Maese Pedro mance medieval jongleuresque tradition medieval performance Menéndez Pidal narrative narrator notes oral original performance event performance space performance text performance tradition picaresque pícaro play players playwrights Poesía poetics popular precisely prologue puppet show Quijote radical theatricality Renaissance ritual romance Romancero Rueda Scala's Schechner scholars Shakespeare simple stage sing singer singer of tales song Spain Spanish theater specific spectacle story teatro textual Thespis myth Timoneda tion villancico voice Waverly Consort Western words