Shakespeare the Actor and the Purposes of PlayingUniversity of Chicago Press, 1993 - 325 pagina's 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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Pagina iv
... actor and the purposes of playing / Meredith Anne Skura . p . cm . Includes bibliographical references and index . 1. Shakespeare , William , 1564-1616 - Knowledge - Performing arts . 2. Shakespeare , William , 1564 , 1616 - Characters ...
... actor and the purposes of playing / Meredith Anne Skura . p . cm . Includes bibliographical references and index . 1. Shakespeare , William , 1564-1616 - Knowledge - Performing arts . 2. Shakespeare , William , 1564 , 1616 - Characters ...
Pagina xi
... actor , on his relation to the playwright rather than to his audience ) , with not only explicit inner plays , but all the action , seen as analogy for the playwright's experience . Burckhardt and Calderwood see the kings and heroes in ...
... actor , on his relation to the playwright rather than to his audience ) , with not only explicit inner plays , but all the action , seen as analogy for the playwright's experience . Burckhardt and Calderwood see the kings and heroes in ...
Pagina 1
... actor ? As we know , sixteenth - century writers like Thomas More saw them- selves as actors caught in a script ... actor , " excellent in the quality he professes , " as Chettle said in 1592 . Shakespeare chose to be an actor despite ...
... actor ? As we know , sixteenth - century writers like Thomas More saw them- selves as actors caught in a script ... actor , " excellent in the quality he professes , " as Chettle said in 1592 . Shakespeare chose to be an actor despite ...
Pagina 2
... Actors in all these Playes , " and he was remembered as an actor long after . In 1640 he was still being eulogized as " that famous Writer and Actor , " and anecdotes about the roles he took were still circulating in the eighteenth ...
... Actors in all these Playes , " and he was remembered as an actor long after . In 1640 he was still being eulogized as " that famous Writer and Actor , " and anecdotes about the roles he took were still circulating in the eighteenth ...
Pagina 3
... acting at every moment discussed here . But as Goldman says , everything Shakespeare wrote " reflects his dramatic bent ... because it shows us a response to life for which drama was finally neces- sary . " 10 Similarly the actor's ...
... acting at every moment discussed here . But as Goldman says , everything Shakespeare wrote " reflects his dramatic bent ... because it shows us a response to life for which drama was finally neces- sary . " 10 Similarly the actor's ...
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