Pursuing Shakespeare's Dramaturgy: Some Contexts, Resources, and Strategies in His Playmaking

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Fairleigh Dickinson Univ Press, 2003 - 489 pàgines
This book is about Shakespeare's stagecraft. It presents examinations of the conditions under which Shakespeare worked, including limitations and opportunities offered by circumstances that affected how his plays were written. It attempts to recover more in Shakespeare's plays than is normally appreciated, and to discover previously unnoticed dramatic strategies embedded in the Shakespearean texts.
The book is aimed at Shakespeare as a playwright - or, more exactly, a playmaker - of his time. It considers only the earliest texts of the plays, only the resources available when they were written, and only what can be seen in the plays in conjunctions with the evidences from the days of Shakespeare's career.
It is especially concerned with what can be said about Shakespeare's intentions as he shaped his plays. There are, the book maintains, important but still inadequately appreciated dramatic designs built into the plays, and there are clever strategies that have gone unnoticed but may yet be discerned by the careful application of dramaturgical analysis.
The Shakespeare studied in this book is Shakespeare the playmaker, engaged in every step of the process from the first draft of the text to the performance before a live audience. This, the author contends, is the Shakespeare that is most essential, the Shakespeare who should be known as the foundation underlying any other treatment of the plays, and the Shakespeare most exciting and rewarding to pursue.

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Continguts

Prologue
9
A Test Case
17
The Foundational Texts
27
Divisions Locations and Accidentals
43
Speech Headings and Stage Directions
69
Shakespeares Stages as Limit and Opportunity
100
Actors Styles and Playing Conditions
150
Creating and Deploying a Shakespearean Cast
181
Stage Properties
261
Sound and Music
297
The Arts and Crafts of Language
324
Shakespeares Audiences
377
Epilogue
420
Bibliography
472
Index
485
Copyright

Costumes
223

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Passatges populars

Pàgina 463 - ... only, if your honour seem but pleased, I account myself highly praised, and vow to take advantage of all idle hours, till I have honoured you with some graver labour.
Pàgina 406 - The true artificer will not run away from Nature as he were afraid of her, or depart from life and the likeness of truth, but speak to the capacity of his hearers. And though his language differ from the vulgar somewhat, it shall not fly from all humanity, with the Tamerlanes and Tamer-chams of the late age, which had nothing in them but the scenical strutting and furious vociferation to warrant them to the ignorant gapers.
Pàgina 68 - Tis time ; descend ; be stone no more : approach ; Strike all that look upon with marvel. Come ; I'll fill your grave up : stir ; nay, come away ; Bequeath to death your numbness, for from him. Dear life redeems you.
Pàgina 152 - ... a precisian; and so of divers others. I observe, of all men living, a worthy actor in one kind is the strongest motive of affection that can be; for, when he dies, we cannot be persuaded any man can do his parts like him.
Pàgina 34 - Who, as he was a happie imitator of Nature, was a most gentle expresser of it. His mind and hand went together: And what he thought, he vttered with that easinesse, that wee haue scarse receiued from him a blot in his papers.
Pàgina 435 - Present not yourself on the stage, especially at a new play, until the quaking Prologue hath by rubbing got colour into his cheeks, and is ready to give the trumpets their cue that he is upon point to enter ; for then it is time, as though you were one of the properties, or that you dropped out of the hangings, to creep from behind the arras, with your tripos or threefooted stool in one hand and a teston mounted between a fore-finger and a thumb in the other...
Pàgina 252 - I may scape, I will preserve myself: and am bethought To take the basest and most poorest shape, That ever penury, in contempt of man, Brought near to beast...
Pàgina 354 - O, who can hold a fire in his hand, By thinking on the frosty Caucasus? Or cloy the hungry edge of appetite, By bare imagination of a feast?

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