Pursuing Shakespeare's Dramaturgy: Some Contexts, Resources, and Strategies in His PlaymakingFairleigh Dickinson Univ Press, 2003 - 489 Seiten "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. |
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Seite 10
... say about how other scholars follow different ways of analyzing , appreciat- ing , and appropriating the plays . Rich and thoughtful as their publications may be , they are not to my purposes . This book is ded- icated to what another ...
... say about how other scholars follow different ways of analyzing , appreciat- ing , and appropriating the plays . Rich and thoughtful as their publications may be , they are not to my purposes . This book is ded- icated to what another ...
Seite 13
... say about that is that I consider such topics to deserve and require much further investigation and that I may return to them later . I most gratefully acknowledge the Killam Foundation ( and its Canada Council administrators ) for ...
... say about that is that I consider such topics to deserve and require much further investigation and that I may return to them later . I most gratefully acknowledge the Killam Foundation ( and its Canada Council administrators ) for ...
Seite 46
... says that of the seventy four adult - company plays printed 1591-1607 , only five are act - di- vided — and it is surely significant that all five are the works of the most academic and classical of the public - theater play- wrights ...
... says that of the seventy four adult - company plays printed 1591-1607 , only five are act - di- vided — and it is surely significant that all five are the works of the most academic and classical of the public - theater play- wrights ...
Seite 48
... says Actus Tertius , Scœna prima , though by usual standards we have not have had even a Scene break , let alone the playing - out of what could reasonably be called an act . The play that appears closest to manifesting a five - act ...
... says Actus Tertius , Scœna prima , though by usual standards we have not have had even a Scene break , let alone the playing - out of what could reasonably be called an act . The play that appears closest to manifesting a five - act ...
Seite 57
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Inhalt
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 |
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
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
Beliebte Passagen
Seite 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.
Seite 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.
Seite 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.
Seite 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.
Seite 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.
Seite 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...
Seite 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...
Seite 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?
Verweise auf dieses Buch
Shakespeare and Cognition: Aristotle's Legacy and Shakespearean Drama Arthur F. Kinney Eingeschränkte Leseprobe - 2006 |
The Staging of Romance in Late Shakespeare: Text and Theatrical Technique Christopher J. Cobb Eingeschränkte Leseprobe - 2007 |