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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... narrator addresses his audience directly and posits the novel as a hypothetical per- formance text read aloud by some future reader to a listening audience . Chapter 4 , entitled " Corralling ' the Jongleuresque , " exam- ines the ways ...
... narrator addresses his audience directly and posits the novel as a hypothetical per- formance text read aloud by some future reader to a listening audience . Chapter 4 , entitled " Corralling ' the Jongleuresque , " exam- ines the ways ...
Página 36
... narrator could ever ac- complish ( 121 ) . In many ways , the Libro de buen amor can be read as a literary performance of an expressly theatrical event whose varied embedded texts — existing within the rectangular parameters of a ...
... narrator could ever ac- complish ( 121 ) . In many ways , the Libro de buen amor can be read as a literary performance of an expressly theatrical event whose varied embedded texts — existing within the rectangular parameters of a ...
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... 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 ...
Página 68
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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