Shakespeare the Actor and the Purposes of PlayingUniversity of Chicago Press, 1993 - 325 páginas For the Renaissance, all the world may have been a stage and all its people players, but Shakespeare was also an actor on the literal stage. Meredith Anne Skura asks what it meant to be an actor in Shakespeare's England and shows why a knowledge of actual theatrical practices is essential for understanding both Shakespeare's plays and the theatricality of everyday life in early modern England. Despite the obvious differences between our theater and Shakespeare's, sixteenth-century testimony suggests that the experience of acting has not changed much over the centuries. Beginning with a psychoanalytically informed account of acting today, Skura shows how this intense and ambivalent experience appears not only in literal references to acting in Shakespearean drama but also in recurring narrative concerns, details of language, and dramatic strategies used to engage the audience. Looking at the plays in the context of both public and private worlds outside the theater, Skura rereads the canon to identify new configurations in the plays and new ways of understanding theatrical self-consciousness in Renaissance England. Rich in theatrical, psychoanalytic, biographical, and historical insight, this book will be invaluable to students of Shakespeare and instructive to all readers interested in the dynamics of performance. |
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Resultados 1-5 de 84
Página vii
... Richard III : " False Glass " 64 Richard III : Shakespeare's Glass ? 73 Four Player King as Beggar in Great Men's Houses — I 85 Armado and Costard in the French Academy : Player as Clown 88 Sly in the Cotswold Manor : Player as Beggar ...
... Richard III : " False Glass " 64 Richard III : Shakespeare's Glass ? 73 Four Player King as Beggar in Great Men's Houses — I 85 Armado and Costard in the French Academy : Player as Clown 88 Sly in the Cotswold Manor : Player as Beggar ...
Página xii
... Richard Wheeler read a later draft and responded with wonderfully detailed comments to which I have re- turned many times in reshaping the material ; Anne Few read and discussed at least two versions of the entire manuscript , each time ...
... Richard Wheeler read a later draft and responded with wonderfully detailed comments to which I have re- turned many times in reshaping the material ; Anne Few read and discussed at least two versions of the entire manuscript , each time ...
Página xvi
... Richard 11 , ed . Peter Ure , 1956 ; Richard III , ed . Antony Hammond , 1981 ; The Taming of the Shrew , ed . Brian Morris , 1981 ; The Tempest , ed . Frank Kermode , 1954 ; Timon of Athens , ed . H. J. Oliver , 1959 ; Titus Andronicus ...
... Richard 11 , ed . Peter Ure , 1956 ; Richard III , ed . Antony Hammond , 1981 ; The Taming of the Shrew , ed . Brian Morris , 1981 ; The Tempest , ed . Frank Kermode , 1954 ; Timon of Athens , ed . H. J. Oliver , 1959 ; Titus Andronicus ...
Página 2
... Richard Tarlton , Robert Wilson , Anthony Munday , Ben Jonson , Thomas Heywood , Nathan Field , Robert Armin , Samuel and William Rowley , Richard Brome , and , of course , Wil- liam Shakespeare . These texts are by no means a 2 ...
... Richard Tarlton , Robert Wilson , Anthony Munday , Ben Jonson , Thomas Heywood , Nathan Field , Robert Armin , Samuel and William Rowley , Richard Brome , and , of course , Wil- liam Shakespeare . These texts are by no means a 2 ...
Página 4
... Richard III , the seminal figure , himself both an actor and a perfect actor's medium , who takes over the last of the early history plays . Most commentators , including some within the play itself , have identified Richard as a player ...
... Richard III , the seminal figure , himself both an actor and a perfect actor's medium , who takes over the last of the early history plays . Most commentators , including some within the play itself , have identified Richard as a player ...
Índice
IV | 9 |
V | 29 |
VI | 30 |
VII | 46 |
VIII | 57 |
IX | 64 |
X | 73 |
XI | 85 |
XIX | 144 |
XX | 149 |
XXI | 158 |
XXII | 166 |
XXIII | 169 |
XXIV | 179 |
XXV | 183 |
XXVI | 191 |
XII | 88 |
XIII | 95 |
XIV | 106 |
XV | 115 |
XVII | 129 |
XVIII | 140 |
XXVII | 195 |
XXVIII | 203 |
XXIX | 225 |
XXX | 235 |
315 | |
Outras edições - Ver tudo
Shakespeare the Actor and the Purposes of Playing Meredith Anne Skura Pré-visualização limitada - 1993 |
Palavras e frases frequentes
Actaeon acting Anne Antony Arden Armado attack audience audience's baiting Barber and Wheeler bearbaiting beggar Bottom Brutus Caesar called Callow chapter character child cited in Chambers clown Comedy Coriolanus crowd crown death deer describes Drama dream Elizabethan Stage English Epilogue Fairy Falstaff fantasies father fawning fear flattering fool Hal's Hamlet Henriad Henry Henry IV Henry VI Histriomastix histrionic hunt identified inner plays italics added John John Marston Jonson King King Lear kneel Launce Lear literally London Lord Love's Labour's Lost male Midsummer Night's Dream mirror mother murder narcissistic offstage onstage performance play's players poet Queen Renaissance Richard Richard III role says scene Shake Shakespeare shame Shrew Sly's social sonnet speare's stage fright story suggests Tarlton tells theater theatrical thee Thomas thou Timon Timon of Athens Titus Titus Andronicus University Press Wives wounds York