Shakespeare the Actor and the Purposes of PlayingUniversity of Chicago Press, 1993 - 325 Seiten For the Renaissance, all the world may have been a stage and all its people players, but Shakespeare was also an actor on the literal stage. Meredith Anne Skura asks what it meant to be an actor in Shakespeare's England and shows why a knowledge of actual theatrical practices is essential for understanding both Shakespeare's plays and the theatricality of everyday life in early modern England. Despite the obvious differences between our theater and Shakespeare's, sixteenth-century testimony suggests that the experience of acting has not changed much over the centuries. Beginning with a psychoanalytically informed account of acting today, Skura shows how this intense and ambivalent experience appears not only in literal references to acting in Shakespearean drama but also in recurring narrative concerns, details of language, and dramatic strategies used to engage the audience. Looking at the plays in the context of both public and private worlds outside the theater, Skura rereads the canon to identify new configurations in the plays and new ways of understanding theatrical self-consciousness in Renaissance England. Rich in theatrical, psychoanalytic, biographical, and historical insight, this book will be invaluable to students of Shakespeare and instructive to all readers interested in the dynamics of performance. |
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Seite ix
... stories told by Shakespeare's plays , and the strategies employed , answer not only cultural but also individual needs , some of which are not consciously acknowledged and may be left over from early , even infantile , stages of ...
... stories told by Shakespeare's plays , and the strategies employed , answer not only cultural but also individual needs , some of which are not consciously acknowledged and may be left over from early , even infantile , stages of ...
Seite 1
... story made Callow think of ac- tors ? And what might it have meant to Shakespeare , born four hundred years before Callow , to be an actor ? As we know , sixteenth - century writers like Thomas More saw them- selves as actors caught in ...
... story made Callow think of ac- tors ? And what might it have meant to Shakespeare , born four hundred years before Callow , to be an actor ? As we know , sixteenth - century writers like Thomas More saw them- selves as actors caught in ...
Seite 6
... story about acting , but a retelling of the great house story first presented as Sly's adventure after being thrown out by the Hostess . It is of all the plays the most focused on the actor's " instrument , " his body , and on his ...
... story about acting , but a retelling of the great house story first presented as Sly's adventure after being thrown out by the Hostess . It is of all the plays the most focused on the actor's " instrument , " his body , and on his ...
Seite 7
... story lends itself even more tantalizingly to an actor's fantasies . The actor , Grotowski said , is isolated up there in front of us not for us but instead of us . Christ's passion in the cycles of mystery plays gives new meaning to ...
... story lends itself even more tantalizingly to an actor's fantasies . The actor , Grotowski said , is isolated up there in front of us not for us but instead of us . Christ's passion in the cycles of mystery plays gives new meaning to ...
Seite 59
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Inhalt
IV | 9 |
V | 29 |
VI | 30 |
VII | 46 |
VIII | 57 |
IX | 64 |
X | 73 |
XI | 85 |
XIX | 144 |
XX | 149 |
XXI | 158 |
XXII | 166 |
XXIII | 169 |
XXIV | 179 |
XXV | 183 |
XXVI | 191 |
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Actaeon acting Anne Antony Arden Armado attack audience audience's baiting Barber and Wheeler bearbaiting beggar Bottom Brutus Caesar called Callow chapter character child cited in Chambers clown Comedy Coriolanus crowd crown death deer describes Drama dream Elizabethan Stage English Epilogue Fairy Falstaff fantasies father fawning fear flattering fool Hal's Hamlet Henriad Henry Henry IV Henry VI Histriomastix histrionic hunt identified inner plays italics added John John Marston Jonson King King Lear kneel Launce Lear literally London Lord Love's Labour's Lost male Midsummer Night's Dream mirror mother murder narcissistic offstage onstage performance play's players poet Queen Renaissance Richard Richard III role says scene Shake Shakespeare shame Shrew Sly's social sonnet speare's stage fright story suggests Tarlton tells theater theatrical thee Thomas thou Timon Timon of Athens Titus Titus Andronicus University Press Wives wounds York