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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Rezultatai 1–5 iš 32
4 psl.
... openly as the other half of a conversa- tion . Whether the audience's half of that conversation was actually silent or was voiced , Cain invokes their presence and provokes their responses . Equally important , Cain summons up these ...
... openly as the other half of a conversa- tion . Whether the audience's half of that conversation was actually silent or was voiced , Cain invokes their presence and provokes their responses . Equally important , Cain summons up these ...
6 psl.
... openly to playgoers is also a potent and complex aspect of drama . Open address siphons one world ( the audience ) into another ( the play ) . In this book , my focus is the dramaturgical power of this kind of talk . I follow it as a ...
... openly to playgoers is also a potent and complex aspect of drama . Open address siphons one world ( the audience ) into another ( the play ) . In this book , my focus is the dramaturgical power of this kind of talk . I follow it as a ...
7 psl.
... openly talking to its audience . In his Dramatic Texts and Records of Britain : A Chronological Topography to 1558 , Ian Lancashire cautions against holding an " evolutionary ' assumption about the growth of British drama ” ( ix — xxxi ) ...
... openly talking to its audience . In his Dramatic Texts and Records of Britain : A Chronological Topography to 1558 , Ian Lancashire cautions against holding an " evolutionary ' assumption about the growth of British drama ” ( ix — xxxi ) ...
8 psl.
... openly address audiences . Other plays ( such as morality and folk plays , for the latter of which we have no medieval texts ) produced during the same historical period also do so . I have chosen to focus on guild plays because of the ...
... openly address audiences . Other plays ( such as morality and folk plays , for the latter of which we have no medieval texts ) produced during the same historical period also do so . I have chosen to focus on guild plays because of the ...
12 psl.
... openly to the playgoers , but never stepped out of the play . The nature of the new architecture enforced a profoundly altered exchange between stage and audience . It is worth mention- ing , too , that I consider the use of " downstage ...
... openly to the playgoers , but never stepped out of the play . The nature of the new architecture enforced a profoundly altered exchange between stage and audience . It is worth mention- ing , too , that I consider the use of " downstage ...
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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