Stages and Playgoers: From Guild Plays to ShakespeareMcGill-Queen's Press - MQUP, 2002 - 241 psl. The tradition of direct address has little to do with the frequently touted notion of the "fluidity of the Renaissance stage": the point is not that stage characters can talk to the audience but that they actually do reach out to the playgoers and in so doing import aspects of the audience world to the stage. These exchanges appear frequently in late-medieval drama and continue to be crucial stage strategies for Shakespeare, in whose work they grow and change. By examining a native dramatic tradition not fully explored before, Hill proposes new ways to imagine historical and contemporary performances. Stages and Playgoers will be invaluable for students of cultural studies, medieval and Renaissance studies, theatre history, and stagecraft. |
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psl.
... characters can talk to the audience but that they actually do reach out to the playgoers and in so doing import aspects of the audience world to the stage . These exchanges appear frequently in late- medieval drama and continue to be ...
... characters can talk to the audience but that they actually do reach out to the playgoers and in so doing import aspects of the audience world to the stage . These exchanges appear frequently in late- medieval drama and continue to be ...
psl.
... characters can talk to the audience but that they actu- ally do reach out to the playgoers and in so doing import aspects of the audience world to the stage . These exchanges appear frequently in late medieval drama and continue to be ...
... characters can talk to the audience but that they actu- ally do reach out to the playgoers and in so doing import aspects of the audience world to the stage . These exchanges appear frequently in late medieval drama and continue to be ...
3 psl.
... characters talk directly to the Yorkshire crowds . Open acknowledgement of audience pres- ence is a very prominent part of this episode : the scurrilous duo of Cain and Pykeharnes , as well as God , all speak directly to the play- goers ...
... characters talk directly to the Yorkshire crowds . Open acknowledgement of audience pres- ence is a very prominent part of this episode : the scurrilous duo of Cain and Pykeharnes , as well as God , all speak directly to the play- goers ...
5 psl.
... characters are aware only of each other , and on which we eavesdrop . If the audience needs to know something , it is told directly . A character unselfconsciously tells the audience how he feels . He also tells you " what he is doing ...
... characters are aware only of each other , and on which we eavesdrop . If the audience needs to know something , it is told directly . A character unselfconsciously tells the audience how he feels . He also tells you " what he is doing ...
6 psl.
... characters in medieval drama talk to their audiences , I am cautious about " discovering " medieval performance ... character - audience intimacy in the plays is linked to the medieval " movement of pop- ular piety that sought to bring ...
... characters in medieval drama talk to their audiences , I am cautious about " discovering " medieval performance ... character - audience intimacy in the plays is linked to the medieval " movement of pop- ular piety that sought to bring ...
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Abraham action actors audi audience audience's Bevington biblical Blackfriars Cain Cambridge University Press characters Chester Christ close comic companies contemporary Corpus Christi costumes court Coventry crowds Cymbeline David Bevington devil early Elizabethan ence England English Drama episode Falstaff figure fool Fulgens and Lucrece galleries goers Gower guild drama guild plays Gurr Hamlet Hattaway heaven Hell Henry Herod Imogen impresario Interludes Jachimo James Burbage John kill king King Lear Lear listeners lives loca London look Lord medieval drama Medieval Theatre modern morality plays N-Town never no-one Noah nonce plays open address openly Pandarus performance platea play's players playgoers Playgoing playing space playworld playwrights Posthumus present Prologue Prospero public playhouses Renaissance Drama Richard romance scaffold servant Shakespeare shepherds soliloquies speaks spectators speech story strategies talk tapster tell theatre theatrical thou tion Towneley Towneley's towns tradition Tudor Twycross Tydeman watching Weimann words York York's þat