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 ix
... Theater 132 Chapter Four " Corralling " the Jongleuresque 171 Chapter Five Playwrights and the Actorly Text 215 Conclusion 221 Notes 231 Bibliography 247 Index Acknowledgments Radical Theatricality has its roots in a Yale University ix.
... Theater 132 Chapter Four " Corralling " the Jongleuresque 171 Chapter Five Playwrights and the Actorly Text 215 Conclusion 221 Notes 231 Bibliography 247 Index Acknowledgments Radical Theatricality has its roots in a Yale University ix.
Página 6
... notes , a great deal of medi- eval orality , including that which involved forensic rhetoric , was conceived of as theatricality ( 2 ) . Indeed , many of the dis- parate spectacles catalogued and described in Amoros and Dfez Borque's ...
... notes , a great deal of medi- eval orality , including that which involved forensic rhetoric , was conceived of as theatricality ( 2 ) . Indeed , many of the dis- parate spectacles catalogued and described in Amoros and Dfez Borque's ...
Página 21
... ( note that character dialogue continues to be the mediating fac- tor ) ; second , a space that can be defined a priori as a stage ; and third , a performer who can be defined a priori as an actor . Any- thing that falls outside these ...
... ( note that character dialogue continues to be the mediating fac- tor ) ; second , a space that can be defined a priori as a stage ; and third , a performer who can be defined a priori as an actor . Any- thing that falls outside these ...
Página 23
... notes in the introduction to his own pub- lished — but unperformed — plays , is often a function of finding an impresario willing to undertake the commercially risky en- deavor ( " Prologo al lector " 11-12 ) . Instead , what we really ...
... notes in the introduction to his own pub- lished — but unperformed — plays , is often a function of finding an impresario willing to undertake the commercially risky en- deavor ( " Prologo al lector " 11-12 ) . Instead , what we really ...
Página 28
... notes that theater's " core " has traditionally been associated with a theoretically stable verbal text , an association that often leads us to view any particular performance as little more than a secondary " manifestation " of this ...
... notes that theater's " core " has traditionally been associated with a theoretically stable verbal text , an association that often leads us to view any particular performance as little more than a secondary " manifestation " of this ...
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