Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's TheatreCambridge University Press, 27.07.2000 - 298 Seiten Robert Weimann redefines the relationship between writing and performance, or "playing," in Shakespeare's theater. Through close reading and careful analysis Weimann offers a reconsideration and redefinition of Elizabethan performance and production practices. The study reviews the most recent methodologies of textual scholarship, the new history of the Elizabethan theater, performance theory, and film and video interpretation, and offers a new approach to understanding Shakespeare. Weimann examines a range of plays as well as other contemporary works. A major part of the study explores the duality between playing and writing. |
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Seite i
... Troilus and Cressida , Macbeth , Timon of Athens and other plays , the author traces contrariety but also liminality between the imaginary world - in - the- play and the visible , audible playing - in - the - world of the playhouse . En ...
... Troilus and Cressida , Macbeth , Timon of Athens and other plays , the author traces contrariety but also liminality between the imaginary world - in - the- play and the visible , audible playing - in - the - world of the playhouse . En ...
Seite ix
... Troilus and Cressida page xi 1 " Unworthy scaffold " for " so great an object " ( Henry V ) 4 Playing with a difference 7 Space ( in ) dividable : locus and platea revisited To " disfigure , or to present " ( A Midsummer Night's Dream ) ...
... Troilus and Cressida page xi 1 " Unworthy scaffold " for " so great an object " ( Henry V ) 4 Playing with a difference 7 Space ( in ) dividable : locus and platea revisited To " disfigure , or to present " ( A Midsummer Night's Dream ) ...
Seite 6
... Troilus and Cressida puts it . In exploring the changeful relationship of " pen " and " voice , " my question is , have we perhaps overlooked an important constellation of cultural practices and interests in the Elizabethan theatre that ...
... Troilus and Cressida puts it . In exploring the changeful relationship of " pen " and " voice , " my question is , have we perhaps overlooked an important constellation of cultural practices and interests in the Elizabethan theatre that ...
Seite 9
... Troilus and Cressida . From the quarto of the same play I have used " bifold authority " ( the Folio has " By foule authoritie " ) in order to point at the difference in the courts of appeal and validity between writing and playing , on ...
... Troilus and Cressida . From the quarto of the same play I have used " bifold authority " ( the Folio has " By foule authoritie " ) in order to point at the difference in the courts of appeal and validity between writing and playing , on ...
Seite 12
... Troilus and Cressida , are embedded in culturally saturated types of space and production ; as such they constitute agencies for writing and playing . In using terms like " pen " or " voice " or , at least as often , ' writing ' and ...
... Troilus and Cressida , are embedded in culturally saturated types of space and production ; as such they constitute agencies for writing and playing . In using terms like " pen " or " voice " or , at least as often , ' writing ' and ...
Inhalt
Performance and authority in Hamlet 1603 | 18 |
A new agenda for authority | 29 |
The low and ignorant crust of corruption | 31 |
Towards a circulation of authority in the theatre | 36 |
distraction in authority | 43 |
Pen and voice versions of doubleness | 54 |
Frivolous jestures vs matter of worthiness Tamburlaine | 56 |
Bifold authority in Troilus and Cressida | 62 |
Renaissance writing and common playing | 153 |
Unworthy antics in the glass of fashion | 161 |
When in one line two crafts directly meet | 169 |
Wordplay and the mirror of representation | 174 |
Space individable locus and platea revisited | 180 |
the locus | 182 |
provenance and function | 192 |
Locus and platea in Macbeth | 196 |
Unworthy scaffold for so great an object Henry V | 70 |
Playing with a difference | 79 |
To disfigure or to present A Midsummer Nights Dream | 80 |
To descant on difference and deformity Richard III | 88 |
The selfresembled show | 98 |
Presentation or the performant function | 102 |
Histories in Elizabethan performance | 109 |
Disparity in midElizabethan theatre history | 110 |
Reforming a whole theatre of others Hamlet | 121 |
From common player to excellent actor | 131 |
Differentiation exclusion withdrawal | 136 |
Hamlet and the purposes of playing | 151 |
Banqueting in Timon of Athens | 208 |
Shakespeares endings commodious thresholds | 216 |
Epilogues vs closure | 220 |
holiday into workaday | 226 |
Thresholds to memory and commodity | 234 |
cultural authority betwixtandbetween | 240 |
thresholds forever after | 246 |
Notes | 251 |
List of works cited | 269 |
289 | |
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Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's Theatre Robert Weimann Keine Leseprobe verfügbar - 2000 |
Häufige Begriffe und Wortgruppen
acting action actor's voice actors Andrew Gurr antic Apemantus appears audience author's pen banquet bifold century character circulation of authority clown comedy common players context contrariety course criticism cultural authority deformity differentiation discourse disfigurement doubleness dramatic representation dramatic text dramaturgy element Elizabethan performance Elizabethan stage Elizabethan theatre epilogue function gesture Hamlet high Renaissance Histriomastix holy humanist imaginary implicated John Marston language least liminal literary locus and platea Macbeth marked matter medieval theatre memory Midsummer Night's Dream mimesis mirror mode notes oral performance practice phrase platea play's playhouse playtext poetics political present production Prologue purpose of playing Quarto question reading relations Renaissance represented rhetoric role scene semiotics sense serves Shakespeare's theatre signifying social spatial spectators speech Stephen Orgel suggest symbolic Tamburlaine textual theatrical space threshold tion traditional Troilus and Cressida unworthy scaffold verbal words writing and playing