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 8
... myth of Thespis's supposed invention of Western theater out of ritual — an evolutionary paradigm often applied to the so - called rebirth of Western drama in the medieval liturgy — and suggests that its reliance on a single moment of ...
... myth of Thespis's supposed invention of Western theater out of ritual — an evolutionary paradigm often applied to the so - called rebirth of Western drama in the medieval liturgy — and suggests that its reliance on a single moment of ...
Página 11
... myth into their histori- ographies by designating Rueda as the " first " Spanish actor / playwright , ignoring the long jongleuresque tradition that pre- ceded and , indeed , gave rise to him . The chapter then moves to an examination ...
... myth into their histori- ographies by designating Rueda as the " first " Spanish actor / playwright , ignoring the long jongleuresque tradition that pre- ceded and , indeed , gave rise to him . The chapter then moves to an examination ...
Página 13
... Myth I begin with a myth of origins . Like all good myths this one has a hero ; like all good myths it owes its interpretive authority to its own misty antiquity ; and like all good myths it lends it- self to infinite re ...
... Myth I begin with a myth of origins . Like all good myths this one has a hero ; like all good myths it owes its interpretive authority to its own misty antiquity ; and like all good myths it lends it- self to infinite re ...
Página 14
... of the dramatic form , insisting that Aeschylus introduced a second actor , while Sophocles raised the number of actors to three and added scen- ery ( 49 ) . I do not retell this myth because I am somehow 14 Chapter One.
... of the dramatic form , insisting that Aeschylus introduced a second actor , while Sophocles raised the number of actors to three and added scen- ery ( 49 ) . I do not retell this myth because I am somehow 14 Chapter One.
Página 15
... myth ( both on its own terms and as a descriptive historiographical model ) reveals that this legend has bequeathed to us three essential critical assumptions about the nature of theater . First , the Thespis myth asserts that theater ...
... myth ( both on its own terms and as a descriptive historiographical model ) reveals that this legend has bequeathed to us three essential critical assumptions about the nature of theater . First , the Thespis myth asserts that theater ...
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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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