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 1
... space , and whose performance has always entailed a great deal more than just the recitation of oral poetry . Of course , the hero of the early Spanish stage has not al- ways been the performer.1 During most of its venerable his- tory ...
... space , and whose performance has always entailed a great deal more than just the recitation of oral poetry . Of course , the hero of the early Spanish stage has not al- ways been the performer.1 During most of its venerable his- tory ...
Página 5
... space is pre - designated as such ) until the performer creates it ; likewise , the play never really exists ( even when a dramatist has provided an a priori script ) until the performance articulates it . Much more crucial than any ...
... space is pre - designated as such ) until the performer creates it ; likewise , the play never really exists ( even when a dramatist has provided an a priori script ) until the performance articulates it . Much more crucial than any ...
Página 7
... space and call it a bare stage . A man walks across this empty space whilst someone else is watching him , and this is all that is needed for an act of theatre to be engaged " ( 9 ) . Theater presents rather than represents , it does ...
... space and call it a bare stage . A man walks across this empty space whilst someone else is watching him , and this is all that is needed for an act of theatre to be engaged " ( 9 ) . Theater presents rather than represents , it does ...
Página 8
... space pre - labeled stage and an al- ready existing written text based exclusively on character dialogue . Yet , because both of these defining components have very little to do with any actual requirements of performance , they do not ...
... space pre - labeled stage and an al- ready existing written text based exclusively on character dialogue . Yet , because both of these defining components have very little to do with any actual requirements of performance , they do not ...
Página 13
... space over public space , and high culture over low culture . Aristotle was the first to employ this myth within the context of a critical work and he has been followed ever since by scores of theater historians and literary critics who ...
... space over public space , and high culture over low culture . Aristotle was the first to employ this myth within the context of a critical work and he has been followed ever since by scores of theater historians and literary critics who ...
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