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 5
... words of Harvey Graff , " labored under the spectre and shadows of modernization theories with their strong assumptions of literacy's role , powers , and provenance . " 4 While the post - Enlightenment synthesis of humanistic and social ...
... words of Harvey Graff , " labored under the spectre and shadows of modernization theories with their strong assumptions of literacy's role , powers , and provenance . " 4 While the post - Enlightenment synthesis of humanistic and social ...
Seite 6
... word for the book at large ) , this question must be an open one . It may well be that , when all is said and done , the recent revaluation of literacy needs to accommodate itself ... words , " such true scaenical authority " 6 Introduction.
... word for the book at large ) , this question must be an open one . It may well be that , when all is said and done , the recent revaluation of literacy needs to accommodate itself ... words , " such true scaenical authority " 6 Introduction.
Seite 7
... words , " such true scaenical authority " ( Dekker , Gull's Horn Book 2 : 249 ) 8 as was irreducible to the dramatist's writings ? And could it be that this little , brief and very vulnerable authority derived from certain types of ...
... words , " such true scaenical authority " ( Dekker , Gull's Horn Book 2 : 249 ) 8 as was irreducible to the dramatist's writings ? And could it be that this little , brief and very vulnerable authority derived from certain types of ...
Seite 8
... words ( as William Worthen has annotated this passage ) , " the book may be for us what orality was for Shakespeare " - still in many spheres a dominant mode of transmission . Perhaps there are other , and better , ways to deal with ...
... words ( as William Worthen has annotated this passage ) , " the book may be for us what orality was for Shakespeare " - still in many spheres a dominant mode of transmission . Perhaps there are other , and better , ways to deal with ...
Seite 9
... words and bodies was unsurpassed , it was also marked by an interface more complex than can be conveyed by any notion of complementarity . In fact , the unsettled state of the ménage of " author's pen " and " actor's voice " was ...
... words and bodies was unsurpassed , it was also marked by an interface more complex than can be conveyed by any notion of complementarity . In fact , the unsettled state of the ménage of " author's pen " and " actor's voice " was ...
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