Pursuing Shakespeare's Dramaturgy: Some Contexts, Resources, and Strategies in His PlaymakingFairleigh Dickinson Univ Press, 2003 - 489 pāgines "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 72.
Pāgina 20
... sense if we re- alize that Lear was not the only candidate for the role of bitter fool and miscounseling Lord . There are three main characters on- stage , not two . If we try out the remaining alternative , it is Kent who must be ...
... sense if we re- alize that Lear was not the only candidate for the role of bitter fool and miscounseling Lord . There are three main characters on- stage , not two . If we try out the remaining alternative , it is Kent who must be ...
Pāgina 24
... sense topical allusions for which we can find no key ( e.g. , the lock of Deformed in Much Ado About Noth- ing , the marriage of the Lady of the Strachy and the yeoman of the wardrobe in Twelfth Night ) , so also we can find actions ...
... sense topical allusions for which we can find no key ( e.g. , the lock of Deformed in Much Ado About Noth- ing , the marriage of the Lady of the Strachy and the yeoman of the wardrobe in Twelfth Night ) , so also we can find actions ...
Pāgina 25
... sense of realism , dis- covery , and satisfaction that accompanies the reconstructive un- derstandings that are less familiar than those fostered by the principal traditions of critical reading . The example I have used turns on a bit ...
... sense of realism , dis- covery , and satisfaction that accompanies the reconstructive un- derstandings that are less familiar than those fostered by the principal traditions of critical reading . The example I have used turns on a bit ...
Pāgina 45
... sense whatever . There are copy- right issues to account for how Troilus and Cressida wound up at the beginning of the tragedies and omitted from the table of con- tents.2 But it is a " historic " in its two Quartos , a tragedy in F ...
... sense whatever . There are copy- right issues to account for how Troilus and Cressida wound up at the beginning of the tragedies and omitted from the table of con- tents.2 But it is a " historic " in its two Quartos , a tragedy in F ...
Pāgina 59
Heu assolit el vostre límit de visualitzaciķ per a aquest llibre.
Heu assolit el vostre límit de visualitzaciķ per a aquest llibre.
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 Visualitzaciķ 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
Pāgina 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.
Pāgina 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.
Pāgina 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.
Pāgina 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.
Pāgina 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.
Pāgina 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...
Pāgina 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...
Pāgina 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?
Referčncies a aquest llibre
Shakespeare and Cognition: Aristotle's Legacy and Shakespearean Drama Arthur F. Kinney Previsualitzaciķ limitada - 2006 |
The Staging of Romance in Late Shakespeare: Text and Theatrical Technique Christopher J. Cobb Previsualitzaciķ limitada - 2007 |