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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Página x
... theatrical illusion . A more direct influence on the present study is Anne Righter's Shake- speare and the Idea of the Play , which begins at the other end of the same topos , with the stage rather than the world , and studies its ...
... theatrical illusion . A more direct influence on the present study is Anne Righter's Shake- speare and the Idea of the Play , which begins at the other end of the same topos , with the stage rather than the world , and studies its ...
Página xi
... theatrical event ( Ortega y Gasset , Ber- tolt Brecht , Antonin Artaud , Jerzy Grotowski ) . " Performance criticism , " as it has come to be called , sees the text as a blueprint for production with which we can come as close as ...
... theatrical event ( Ortega y Gasset , Ber- tolt Brecht , Antonin Artaud , Jerzy Grotowski ) . " Performance criticism , " as it has come to be called , sees the text as a blueprint for production with which we can come as close as ...
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... theatrical discourse without literal ref- erence to the stage . These studies are no more dependent on the theater itself than are narratives about the Narrenschiff dependent on navigation or those about the " dance of death " on ...
... theatrical discourse without literal ref- erence to the stage . These studies are no more dependent on the theater itself than are narratives about the Narrenschiff dependent on navigation or those about the " dance of death " on ...
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... theatrical confrontation takes on the excitement of the hunt , recalling not only the ambivalent intimacy of the love hunt , but also the plenitude of mob emotion . Even if we think we understand the modern actor , however , we might ...
... theatrical confrontation takes on the excitement of the hunt , recalling not only the ambivalent intimacy of the love hunt , but also the plenitude of mob emotion . Even if we think we understand the modern actor , however , we might ...
Página 6
... theatrical optics are more complex , and the variety of relations possible in the dynamics of spectatorship suggest that drama has more purposes than Hamlet prescribes . In particular it me- diates the mutual hostility between player ...
... theatrical optics are more complex , and the variety of relations possible in the dynamics of spectatorship suggest that drama has more purposes than Hamlet prescribes . In particular it me- diates the mutual hostility between 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 | |
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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