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 6 - 10 kokonaismäärästä 31
Sivu
... play may still be said to perform rusticity by its insistent contrasting of the court of Duke Theseus with the forest to ... play's fifth act a locale not unlike that of A Midsummer Night's Dream, complete with ghost legends and fairies ...
... play may still be said to perform rusticity by its insistent contrasting of the court of Duke Theseus with the forest to ... play's fifth act a locale not unlike that of A Midsummer Night's Dream, complete with ghost legends and fairies ...
Sivu
... play's architectural division of itself into halves. Nowhere else is court divided from countryside by such a ... play he longs for the preLapsarian past of boyhood eternal, where perfect friendship seemed innocent, when he and Polixenes ...
... play's architectural division of itself into halves. Nowhere else is court divided from countryside by such a ... play he longs for the preLapsarian past of boyhood eternal, where perfect friendship seemed innocent, when he and Polixenes ...
Sivu
... play's final restorative moves. They are pardoned for the death of Cloten and given their rightful places in the royal lineage. No less importantly, they have the charity to forgive the King for his many mistakes and misjudgments ...
... play's final restorative moves. They are pardoned for the death of Cloten and given their rightful places in the royal lineage. No less importantly, they have the charity to forgive the King for his many mistakes and misjudgments ...
Sivu
Katseluoikeutesi tähän teokseen on päättynyt.
Katseluoikeutesi tähän teokseen on päättynyt.
Sivu
Katseluoikeutesi tähän teokseen on päättynyt.
Katseluoikeutesi tähän teokseen on päättynyt.
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