Jacobean Private TheatreRoutledge, 27/03/2017 - 242 páginas In this scholarly and entertaining book, first published in 1987, the author tells the story of Jacobean private theatre. Most of the best plays written after 1610, including Shakespeare’s late plays such as The Tempest, were written for the new breed of private playhouses – small, roofed and designed for an aristocratic, literary audience, as opposed to the larger, open-air houses such as the Globe and the Red Bull, catering for a popular, ‘lowbrow’ audience. The author discusses the polarisation of taste and the effect it had on literary criticism and theatre history. This title will be of interest to students of English Literature, Drama and Performance. |
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... Ford – that make up this alternative tradition to that which we associate with the Globe. Consequently, in this book our twentieth-century touchstones of theatrical style and practice – Brecht, Artaud et al, – are drawn on where ...
... Ford and Davenant. If 'Tis Pity She's a Whore (1633) is mannerist in its grotesque and uneasy collusion with the psychotic Giovanni, The Broken Heart (1633) achieves a fine baroque climax in the organ notes of Calantha's self-sacrifice ...
... Ford, Suckling, Carew. But the satirists saw theatre as just one more temptation – into idleness and debt – for the prodigal student: Your theatres he daily doth frequent (Except the intermitted time of Lent) Treasuring up within his ...
... Ford, the last great tragedian of the period, one woman's honour and another's broken heart form the two axes of his finest and most characteristic play. There were never generally more than three private playhouses operating ...
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Índice
Jacobean Private Playhouses | |
The Private Theatre Companies their Playwrights and their | |
The Tempest at the Blackfriars | |
The Duchess of Malfi at | |
Blackfriars | |
Court Theatre 160342 | |
Bartholomew Fair at the Banqueting | |
Coelum Britannicum at | |
Notes | |
Index | |