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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7 psl.
... seem to me the most significant examples of open address , for reasons to be explained later . I have chosen to focus on a series of moments when it seems clear and particularly interesting to me that a play addresses not just the ...
... seem to me the most significant examples of open address , for reasons to be explained later . I have chosen to focus on a series of moments when it seems clear and particularly interesting to me that a play addresses not just the ...
8 psl.
... seems largely to ignore the audience . Then it moves closer to guild play address , importing onto the scaffold the world of the people in the playhouse . Because it draws on the diverse physical reality in the playhouse , Shakespeare's ...
... seems largely to ignore the audience . Then it moves closer to guild play address , importing onto the scaffold the world of the people in the playhouse . Because it draws on the diverse physical reality in the playhouse , Shakespeare's ...
11 psl.
... seems certain that both medieval and Shakespearean address have the potential to reach out and almost physically touch their audiences . A final seminal influence has been Francis Berry , whose explo- rations of Shakespeare's staging ...
... seems certain that both medieval and Shakespearean address have the potential to reach out and almost physically touch their audiences . A final seminal influence has been Francis Berry , whose explo- rations of Shakespeare's staging ...
12 psl.
... seem at times to tread on familiar ground or to echo ideas to which we have grown accustomed . In fact , the reverse is true ; my argument challenges many familiar starting points or assumptions about ways in which medieval and early ...
... seem at times to tread on familiar ground or to echo ideas to which we have grown accustomed . In fact , the reverse is true ; my argument challenges many familiar starting points or assumptions about ways in which medieval and early ...
19 psl.
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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