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 ix
... social forces and private fantasies , that is , to describe the way outer and inner reality interact to produce the personal , but not private , view of the world in Shakespeare's plays . Drama , or rather the theater , is the most ...
... social forces and private fantasies , that is , to describe the way outer and inner reality interact to produce the personal , but not private , view of the world in Shakespeare's plays . Drama , or rather the theater , is the most ...
Pagina xi
... social process shaped by popular ritual ( S. L. Bethell , C. L. Barber , Robert Weimann , Michael Bristol ) and has been influenced by more general twentieth - century theories about the theatrical event ( Ortega y Gasset , Ber- tolt ...
... social process shaped by popular ritual ( S. L. Bethell , C. L. Barber , Robert Weimann , Michael Bristol ) and has been influenced by more general twentieth - century theories about the theatrical event ( Ortega y Gasset , Ber- tolt ...
Pagina 1
... social construction similarly make use of theatrical discourse without literal ref- erence to the stage . These studies are no more dependent on the theater itself than are narratives about the Narrenschiff dependent on navigation or ...
... social construction similarly make use of theatrical discourse without literal ref- erence to the stage . These studies are no more dependent on the theater itself than are narratives about the Narrenschiff dependent on navigation or ...
Pagina 2
... social and ideological function have posed their questions from the point of view of the observer and his — and more recently her — interests . From Jonas Bar- ish's study of a timeless " antitheatrical prejudice " 5 to studies of ...
... social and ideological function have posed their questions from the point of view of the observer and his — and more recently her — interests . From Jonas Bar- ish's study of a timeless " antitheatrical prejudice " 5 to studies of ...
Pagina 4
... social construction of the actor , the social and economic pressures affecting theater companies , and the day- to - day details of rehearsal and performance — the more it seems that their stage , even more than ours , would foster the ...
... social construction of the actor , the social and economic pressures affecting theater companies , and the day- to - day details of rehearsal and performance — the more it seems that their stage , even more than ours , would foster the ...
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