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 9
... narratives of the Spanish picaresque novel , focusing specific attention on chapter 5 of Lazarillo de Tormes , in which the pardoner and constable stage an elaborate performance designed to deceive local parishioners into purchasing ...
... narratives of the Spanish picaresque novel , focusing specific attention on chapter 5 of Lazarillo de Tormes , in which the pardoner and constable stage an elaborate performance designed to deceive local parishioners into purchasing ...
Página 14
... narrative sung by a choral leader ( 31 ) . The evolution of this dithyrambic perfor- mance steadily progressed until one day it culminated in a truly miraculous event : a choral leader named Thespis separated himself completely from his ...
... narrative sung by a choral leader ( 31 ) . The evolution of this dithyrambic perfor- mance steadily progressed until one day it culminated in a truly miraculous event : a choral leader named Thespis separated himself completely from his ...
Página 20
... narrative elements and people and events were called into be- ing through the evocative power of the spoken word " ( Birth 22 ) . Such an abrupt transition is indicative of the critical restrictions embedded within the Thespis myth ...
... narrative elements and people and events were called into be- ing through the evocative power of the spoken word " ( Birth 22 ) . Such an abrupt transition is indicative of the critical restrictions embedded within the Thespis myth ...
Página 37
... narrative is not a difference per se in Thespis's acting , but — as so many critics have made abundantly clear — a difference between the dramatic text per- formed with character dialogue and the ritual text performed without . Likewise ...
... narrative is not a difference per se in Thespis's acting , but — as so many critics have made abundantly clear — a difference between the dramatic text per- formed with character dialogue and the ritual text performed without . Likewise ...
Página 38
... narration — while a " poem " is characterized by its lengthy nar- rative and / or lyrical elements , and contains only second - hand or reported dialogue ; a " play " is performed around the Dionysian altar or on some kind of ambulant ...
... narration — while a " poem " is characterized by its lengthy nar- rative and / or lyrical elements , and contains only second - hand or reported dialogue ; a " play " is performed around the Dionysian altar or on some kind of ambulant ...
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