Pursuing Shakespeare's Dramaturgy: Some Contexts, Resources, and Strategies in His PlaymakingFairleigh Dickinson Univ Press, 2003 - 489 pàgines "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."--BOOK JACKET. |
Des de l'interior del llibre
Resultats 1 - 5 de 79.
Pàgina 11
... to warrant further exposure . Those who have read Shakespeare's Shakespeare will probably find some of the present book at least reminiscent ( the guiding principles are much the same ) , but those who find here PROLOGUE 11.
... to warrant further exposure . Those who have read Shakespeare's Shakespeare will probably find some of the present book at least reminiscent ( the guiding principles are much the same ) , but those who find here PROLOGUE 11.
Pàgina 23
... ( probably after that day's play ) . The logical time for re- hearsals is morning ( Dawes is being contracted to be ready to step onstage by 3:00 P.m. , so there is ample daylight time to use earlier ) . A final and indispensable piece of ...
... ( probably after that day's play ) . The logical time for re- hearsals is morning ( Dawes is being contracted to be ready to step onstage by 3:00 P.m. , so there is ample daylight time to use earlier ) . A final and indispensable piece of ...
Pàgina 24
... probably orchestrated and choreographed but remain opaque ( e.g. , the manner of Berowne's stepping forth at the end of Love's Labors Lost and the nature of Andrew Agucheek's ca- pering in Twelfth Night 1.3 ) . Not all questions can be ...
... probably orchestrated and choreographed but remain opaque ( e.g. , the manner of Berowne's stepping forth at the end of Love's Labors Lost and the nature of Andrew Agucheek's ca- pering in Twelfth Night 1.3 ) . Not all questions can be ...
Pàgina 32
... probably composed his plays in the manner that seems , from the extant manuscripts of others , to have been rou- tine at the time . The playwright set up a sheet of paper in , more or less , three columns . The left - hand side was ...
... probably composed his plays in the manner that seems , from the extant manuscripts of others , to have been rou- tine at the time . The playwright set up a sheet of paper in , more or less , three columns . The left - hand side was ...
Pàgina 33
... probably few and optional , to judge from those examples . A separate conspicu- ous column for speech headings made the task of preparing dis- tributable parts considerably easier for the playhouse scribe . But as the complete text ...
... probably few and optional , to judge from those examples . A separate conspicu- ous column for speech headings made the task of preparing dis- tributable parts considerably easier for the playhouse scribe . But as the complete text ...
Continguts
17 | |
25 | |
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 |
Costumes | 223 |
Stage Properties | 261 |
Sound and Music | 297 |
The Arts and Crafts of Language | 324 |
Shakespeares Audiences | 377 |
Epilogue | 420 |
Bibliography | 472 |
Index | 485 |
Altres edicions - Mostra-ho tot
Pursuing Shakespeare's Dramaturgy: Some Contexts, Resources, and Strategies ... John C. Meagher Visualització de fragments - 2003 |
Frases i termes més freqüents
action actors Admiral's Men Andrew Gurr appears appropriate audience Blackfriars Cambridge Capulet characters Clown Comedy compositors costume course curtains Cymbeline door dramatic dramaturgical earlier edition effect Elizabethan Stage English enters entry evidence exit Falstaff final scene Folio Fool galleries gates Gentlemen of Verona Gerald Eades Bentley gesture given Globe Hamlet haue Henry Henry VI Henslowe Henslowe's Jonson King Lear language later Lear's least lines London Lord Lord Chamberlain's Men masque matic maturgical Midsummer Night's Dream offstage onstage opening performance perhaps platform plausible play's players playhouse playmaking printed probably prop prose Prospero punctuation Quartos Richard Richard II role Romeo and Juliet says seats seems Shake Shakespeare Shakespeare's company Shakespeare's plays Shakesperiod song speaks speare speare's specific speech headings stage direction suggest textual theater theatrical tion University Press usually verse W. W. Greg words
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?
Referències a aquest llibre
Shakespeare and Cognition: Aristotle's Legacy and Shakespearean Drama Arthur F. Kinney Previsualització limitada - 2006 |
The Staging of Romance in Late Shakespeare: Text and Theatrical Technique Christopher J. Cobb Previsualització limitada - 2007 |