Stages and Playgoers: From Guild Plays to ShakespeareMcGill-Queen's Press - MQUP, 2001-12-05 - 224 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 29
4 psl.
... important , Cain summons up these responses from the playgoers ' contemporary , local world . Here I return to my term : When playgoers are openly addressed , when their reality is made an integral part of the play , as in The Killing ...
... important , Cain summons up these responses from the playgoers ' contemporary , local world . Here I return to my term : When playgoers are openly addressed , when their reality is made an integral part of the play , as in The Killing ...
6 psl.
... important and desirable , but for the sake of the plays themselves - they're good drama . Further- more , contemporary performances of medieval plays teach us a great deal about ourselves as audiences and players , but what we learn ...
... important and desirable , but for the sake of the plays themselves - they're good drama . Further- more , contemporary performances of medieval plays teach us a great deal about ourselves as audiences and players , but what we learn ...
7 psl.
... important - that - we - both - know - that - I - see - you , -and - that - I - know- that - you - see - me " situation . Here I need to consider three questions about the reasons for my choices . First , why guild plays and not other ...
... important - that - we - both - know - that - I - see - you , -and - that - I - know- that - you - see - me " situation . Here I need to consider three questions about the reasons for my choices . First , why guild plays and not other ...
10 psl.
... important . I admire this work , although , as will become apparent later , I find myself disagreeing with almost every conclusion she reaches about addressing the audi- ence . Michael Bristol has an extraordinary capacity for seeing ...
... important . I admire this work , although , as will become apparent later , I find myself disagreeing with almost every conclusion she reaches about addressing the audi- ence . Michael Bristol has an extraordinary capacity for seeing ...
11 psl.
... importance to drama of the physical , the concrete ; of play- goers ' actuality , of the presence around stages of real people living real lives . A recent publication requires special comment here : Michael Mooney's splendid ...
... importance to drama of the physical , the concrete ; of play- goers ' actuality , of the presence around stages of real people living real lives . A recent publication requires special comment here : Michael Mooney's splendid ...
Turinys
3 | |
15 | |
2 Nonce Plays | 76 |
3 I Know You All | 109 |
4 Open Address in the Romances | 161 |
Notes | 185 |
Bibliography | 221 |
Index | 235 |
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Abraham acting action actors audi audience audience's Bevington biblical Blackfriars Cain characters Chester Christ close comic companies contemporary costumes court Coventry Cressida crowds Cymbeline devil early Elizabethan ence England English episode example Falstaff figure fool galleries goers Gower guild drama guild plays Gurr hall Hamlet Hattaway heaven Hell Henry Henry VI Herod Imogen impresario Jachimo James Burbage king King Lear Lear listeners lives loca locus London look Lord Mankind medieval drama morality plays N-Town never no-one Noah nonce drama nonce plays offers open address openly Pandarus performance Pericles platea play's players playgoers Playgoing playing space playworld playwrights Posthumus present Prologue Prospero public playhouses Pykharnes Richard romance scaffold servant Shakespeare shepherds soliloquies speaks spectators speech story strategies talk Tamburlaine tapster tell theatre theatrical thou tion Titus Andronicus Towneley Towneley's towns Tudor Twycross Tydeman watching Weimann words York York's Yorkshire þat