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 vii
... Player Offstage : Fact and Fantasy 30 The Player Onstage : Mimesis and Performance 46 Proud Beggar Onstage : Clown and Epilogue 57 Three Richard III : Shakespeare's " False Glass " 64 Richard III : " False Glass " 64 Richard III ...
... Player Offstage : Fact and Fantasy 30 The Player Onstage : Mimesis and Performance 46 Proud Beggar Onstage : Clown and Epilogue 57 Three Richard III : Shakespeare's " False Glass " 64 Richard III : " False Glass " 64 Richard III ...
Pagina x
... Player King's speech in Hamlet's inner play , for example , addresses his position as player scripted into a play as much as his position as King in that play's narrative : I do believe you think what now you speak . But what we do ...
... Player King's speech in Hamlet's inner play , for example , addresses his position as player scripted into a play as much as his position as King in that play's narrative : I do believe you think what now you speak . But what we do ...
Pagina 1
... player on the public stage , " playing " in ways very different from the courtier's self - fashioning behind the scenes . With hindsight we think of Shakespeare as a man destined to become a play- wright , and easily dismiss his early ...
... player on the public stage , " playing " in ways very different from the courtier's self - fashioning behind the scenes . With hindsight we think of Shakespeare as a man destined to become a play- wright , and easily dismiss his early ...
Pagina 3
... plays , but they also manifest themselves in every aspect of text and performance — in a play's other thematic and metadramatic concerns , in its language , its pat- terns of movement on stage , and its dramatic strategies . Shakespeare's ...
... plays , but they also manifest themselves in every aspect of text and performance — in a play's other thematic and metadramatic concerns , in its language , its pat- terns of movement on stage , and its dramatic strategies . Shakespeare's ...
Pagina 4
... play , and the Epilogue , who kneeled for applause at the end . A conventional role of course tells us nothing about what the actor felt playing it . But the prominence of the begging stance suggests how impor- tant it was to the idea ...
... play , and the Epilogue , who kneeled for applause at the end . A conventional role of course tells us nothing about what the actor felt playing it . But the prominence of the begging stance suggests how impor- tant it was to the idea ...
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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