Shakespeare's Theory of Drama
Cambridge University Press, 23.07.1998 - 218 Seiten
Why did Shakespeare write drama? Did he have specific reasons for his choice of this art form? Did he have clearly defined aesthetic aims in what he wanted drama to do--and why? Kiernan opens a new area of debate in showing that Shakespeare rejected many of the theories of his age on poetry, history and art to create an original theory of drama. This lively, readable, but scholarly examination of works from different stages of the dramatist's career explores what Shakespeare wanted his drama to do and why.
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Shakespeare and Sidney Two worlds the brazen and the golden
Shakespeare and Ovid What strained touches rhetoric can lend poetry metamorphosed in Venus and Adonis and the Sonnets
In scorn of nature art gave lifeless life exposing arts sterility The Rape of Lucrece The Winters Tale and The Tempest
Oerwrested seeming dramatic illusion and the repudiation of mimesis Loves Labours Lost A Midsummer Nights Dream and Hamlet
Thy registers and thee I both defy history challenged Richard III Henry VIII Henry V and Richard II
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action actor actual Adonis Antony argue asks attempt audience becomes begin believe blood body breath bring calls character Cleopatra comes concern created criticism death describes drama dramatist earth effect emphasis examine example explore eyes false fiction flesh flowers give given happened Henry human idea identity illusion imagine imitation insistence interpretation King language literary living London look lost matter means Metamorphoses mimetic move nature nature's never original Ovid Ovid's painting past performance physical play poem poet poetic poetry present question reading reality record remind Renaissance representation rhetoric Richard Rome says scene seems seen sense shadows Shakespeare significance Sonnet speak spectators speech stage statue story suggest tell texts theatre theory things tion told true truth turned University Press Venus Venus and Adonis writes written
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