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 54
psl.
... space have always chal- lenged any unquestioned notions I may have had . I have learned much about drama and performance from the live- ly responses of Conrad , Imogen , Ned , and Louisa Fox . To Barry Fox I owe more thanks than I can ...
... space have always chal- lenged any unquestioned notions I may have had . I have learned much about drama and performance from the live- ly responses of Conrad , Imogen , Ned , and Louisa Fox . To Barry Fox I owe more thanks than I can ...
6 psl.
... space , their pre- sent time , never allegorized nor historicized . Open address imports specificity of local late medieval place and time , along with material facts of everyday contemporary life , into guild drama . As Twycross and ...
... space , their pre- sent time , never allegorized nor historicized . Open address imports specificity of local late medieval place and time , along with material facts of everyday contemporary life , into guild drama . As Twycross and ...
8 psl.
... space from audience time and space . In the Tudor staging sys- tem , open address generates a disjunctive relationship that enables the play to go forward . Finally , to answer the third question : In this book I show that Shakespeare ...
... space from audience time and space . In the Tudor staging sys- tem , open address generates a disjunctive relationship that enables the play to go forward . Finally , to answer the third question : In this book I show that Shakespeare ...
10 psl.
... - ship , the full meaning of drama may be defined as an image of the impact of this relationship on the performed text " ( 7 ) . Such state- ments about the possible links between audience space and stage 10 Stages and Playgoers.
... - ship , the full meaning of drama may be defined as an image of the impact of this relationship on the performed text " ( 7 ) . Such state- ments about the possible links between audience space and stage 10 Stages and Playgoers.
11 psl.
From Guild Plays to Shakespeare Janet Hill. ments about the possible links between audience space and stage space first moved me to see that medieval drama is not , as Rosemary Woolf describes it , a series of " speaking pictures " ( 101 ) ...
From Guild Plays to Shakespeare Janet Hill. ments about the possible links between audience space and stage space first moved me to see that medieval drama is not , as Rosemary Woolf describes it , a series of " speaking pictures " ( 101 ) ...
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