Shakespeare and the Cultures of PerformancePaul Yachnin, Patricia Badir Routledge, 15.5.2017 - 224 sivua Theatrical performance, suggest the contributors to this volume, can be an unpredictable, individual experience as well as a communal, institutional or cultural event. The essays collected here use the tools of theatre history in their investigation into the phenomenology of the performance experience, yet they are also careful to consider the social, ideological and institutional contingencies that determine the production and reception of the living spectacle. Thus contributors combine a formalist interest in the affective and aesthetic dimensions of language and spectacle with an investment in the material cultures that both produced and received Shakespeare's plays. Six of the chapters focus on early modern cultures of performance, looking specifically at such topics as the performance of rusticity; the culture of credit; contract and performance; the cultivation of Englishness; religious ritual; and mourning and memory. Building upon and interrelating with the preceding essays, the last three chapters deal with Shakespeare and performance culture in modernity. They focus on themes including literary and theatrical performance anxiety; cultural iconicity; and the performance of Shakespearean lateness. This collection strives to bring better understanding to Shakespeare's imaginative investment in the relationship between theatrical production and the emotional, intellectual and cultural effects of performance broadly defined in social terms. |
Kirjan sisältä
Tulokset 1 - 5 kokonaismäärästä 24
Sivu
... Armado and the Politics of English in Love's Labour's Lost Lynne Magnusson 5 “Does not the stone rebuke me?”: The Pauline Rebuke and Paulina's Lawful Magic in The Winter's Tale Huston Diehl 6 Shakespeare and Secular Performance Anthony ...
... Armado and the Politics of English in Love's Labour's Lost Lynne Magnusson 5 “Does not the stone rebuke me?”: The Pauline Rebuke and Paulina's Lawful Magic in The Winter's Tale Huston Diehl 6 Shakespeare and Secular Performance Anthony ...
Sivu
... Armado so appealing. The answer, Magnusson suggests, lies in the character's associations with the pleasures of language—particularly with flamboyant “fire-new” English words. The essay argues that Armado's magnificent manipulation of ...
... Armado so appealing. The answer, Magnusson suggests, lies in the character's associations with the pleasures of language—particularly with flamboyant “fire-new” English words. The essay argues that Armado's magnificent manipulation of ...
Sivu
... Armado's “chirrah” in Love's Labour's Lost (V.i.33–4), or, later, in Edgar's “chill” and “chud” in King Lear (IV.vi.236–46), this stage dialect was a subject of genially satirical laughter, much like the equally stereotypical Welsh ...
... Armado's “chirrah” in Love's Labour's Lost (V.i.33–4), or, later, in Edgar's “chill” and “chud” in King Lear (IV.vi.236–46), this stage dialect was a subject of genially satirical laughter, much like the equally stereotypical Welsh ...
Sivu
... Armado for sorting and consorting with “a child of our grandmother Eve,” namely, Jaquenetta, in violation of the royal edict banning all fraternizing with the opposite sex, Costard shows his cunning in legalese: he steers successively ...
... Armado for sorting and consorting with “a child of our grandmother Eve,” namely, Jaquenetta, in violation of the royal edict banning all fraternizing with the opposite sex, Costard shows his cunning in legalese: he steers successively ...
Sivu
... Armado, the lack of self-awareness of the young aristocrats, and the pedantry of schoolmasters and curates. Even though the comics in A Midsummer Night's Dream are “rude mechanicals” from the artisans' stalls of Athens rather than ...
... Armado, the lack of self-awareness of the young aristocrats, and the pedantry of schoolmasters and curates. Even though the comics in A Midsummer Night's Dream are “rude mechanicals” from the artisans' stalls of Athens rather than ...
Sisältö
On the Economic Rhetoric of Revenge in | |
Performing Exchanges in The Merchant | |
Armado and the Politics | |
The Pauline Rebuke | |
Shakespeare and Secular Performance | |
Performance | |
Shakespeare in Blackface Minstrelsy 1844 | |
The Tempest and the Uses of Late Shakespeare in the Cultures | |
Performance Culture History | |
Bibliography 189 | |
Index 203 | |
Muita painoksia - Näytä kaikki
Shakespeare and the Cultures of Performance Paul Edward Yachnin,Patricia Badir Rajoitettu esikatselu - 2008 |
Shakespeare and the Cultures of Performance Paul Yachnin,Patricia Badir Esikatselu ei käytettävissä - 2016 |
Yleiset termit ja lausekkeet
acting actor Antonio argues Armado artist audience Bassanio blackface blackface minstrelsy burlesque Calvin Cambridge University Press characters Chicago Christian claim Comedy commentary context Costard critics cultures of performance Dawson debate Desdemona discourse drama Early Modern England Elizabethan enfranchised English essay exchange film Folger Shakespeare Library Gielgud Globe Greenaway Greenblatt Hamlet Hermione Ibid idea Jim Crow John John Gielgud Jump Jim Crow language Leontes literary London Love’s Labour’s Lost Luther Mark Rylance Merchant of Venice metaphor Michael Mulcaster’s one’s Othello Oxford Pandarus Paul Yachnin Paul’s Paulina’s Pauline Pérez performance anxiety Peter Greenaway play’s playwright political Portia production Prospero Prospero’s Books Protestant race racial reading rebuke reformers religious revenge Rice’s Richard role Routledge Rylance Rylance’s scene secular sense sexual Shakespeare Quarterly Shylock social sonnets stage statue stranger Studies Tempest theatre theatrical tradition Troilus and Cressida William Winter’s Tale words writing York