Pursuing Shakespeare's Dramaturgy: Some Contexts, Resources, and Strategies in His PlaymakingFairleigh Dickinson Univ Press, 2003 - 489 lappuses "It is especially concerned with what can be said about Shakespeare's intentions as he shaped his plays. There are, the book maintains, important but still inadequately appreciated dramatic designs built into the plays, and there are clever strategies that have gone unnoticed but may yet be discerned by the careful application of dramaturgical analysis." "The Shakespeare studied in this book is Shakespeare the playmaker, engaged in every step of the process from the first draft of the text to the performance before a live audience. This, the author contends, is the Shakespeare that is most essential, the Shakespeare who should be known as the foundation underlying any other treatment of the plays, and the Shakespeare most exciting and rewarding to pursue."--BOOK JACKET. |
No grāmatas satura
1.–5. rezultāts no 61.
13. lappuse
... offer thanks to persons whose individual in- terventions have been generously given and appreciated . Since I was rather shy about asking such favors , this book has not prof- ited directly from such expert help , and is the worse for ...
... offer thanks to persons whose individual in- terventions have been generously given and appreciated . Since I was rather shy about asking such favors , this book has not prof- ited directly from such expert help , and is the worse for ...
18. lappuse
... is a trivial case , but one that not only in- dicates what more may be hidden but also offers a readjustment of standard ways of conceiving Shakespeare's relation to the functioning 18 PURSUING SHAKESPEARE'S DRAMATURGY.
... is a trivial case , but one that not only in- dicates what more may be hidden but also offers a readjustment of standard ways of conceiving Shakespeare's relation to the functioning 18 PURSUING SHAKESPEARE'S DRAMATURGY.
19. lappuse
... offers , and Lear invites , a lesson on distinguishing a sweet fool from a bitter one . The quoted lines are the result . It is likely that they were sung , since Lear shortly asks about the Fool's being " so full of songs " and few of ...
... offers , and Lear invites , a lesson on distinguishing a sweet fool from a bitter one . The quoted lines are the result . It is likely that they were sung , since Lear shortly asks about the Fool's being " so full of songs " and few of ...
26. lappuse
... offers to Kent ? What stage actions take place just before the Fool enters , and what dramatic contributions do they make ? Why has it just been said that the Fool is pining away , when we see nothing of the sort ? What significance ...
... offers to Kent ? What stage actions take place just before the Fool enters , and what dramatic contributions do they make ? Why has it just been said that the Fool is pining away , when we see nothing of the sort ? What significance ...
28. lappuse
... offers only chilly comfort , since its features suggest that it is merely a swiftly composed first draft , indifferent not only to punctuation and the supplying of helpful stage directions but even to the provision of adequate and ...
... offers only chilly comfort , since its features suggest that it is merely a swiftly composed first draft , indifferent not only to punctuation and the supplying of helpful stage directions but even to the provision of adequate and ...
Saturs
17 | |
25 | |
43 | |
Speech Headings and Stage Directions | 69 |
Shakespeares Stages as Limit and Opportunity | 100 |
Actors Styles and Playing Conditions | 150 |
Creating and Deploying a Shakespearean Cast | 181 |
Costumes | 223 |
Stage Properties | 261 |
Sound and Music | 297 |
The Arts and Crafts of Language | 324 |
Shakespeares Audiences | 377 |
Epilogue | 420 |
Bibliography | 472 |
Index | 485 |
Citi izdevumi - Skatīt visu
Bieži izmantoti vārdi un frāzes
action actors Admiral's Men Andrew Gurr appears appropriate audience Blackfriars Cambridge Capulet characters Clown Comedy compositors costume course curtains Cymbeline door dramatic dramaturgical earlier edition effect Elizabethan Stage English enters entry evidence exit Falstaff final scene Folio Fool galleries gates Gentlemen of Verona Gerald Eades Bentley gesture given Globe Hamlet haue Henry Henry VI Henslowe Henslowe's Jonson King Lear language later Lear's least lines London Lord Lord Chamberlain's Men masque matic maturgical Midsummer Night's Dream offstage onstage opening performance perhaps platform plausible play's players playhouse playmaking printed probably prop prose Prospero punctuation Quartos Richard Richard II role Romeo and Juliet says seats seems Shake Shakespeare Shakespeare's company Shakespeare's plays Shakesperiod song speaks speare speare's specific speech headings stage direction suggest textual theater theatrical tion University Press usually verse W. W. Greg words
Populāri fragmenti
463. lappuse - ... only, if your honour seem but pleased, I account myself highly praised, and vow to take advantage of all idle hours, till I have honoured you with some graver labour.
406. lappuse - The true artificer will not run away from Nature as he were afraid of her, or depart from life and the likeness of truth, but speak to the capacity of his hearers. And though his language differ from the vulgar somewhat, it shall not fly from all humanity, with the Tamerlanes and Tamer-chams of the late age, which had nothing in them but the scenical strutting and furious vociferation to warrant them to the ignorant gapers.
68. lappuse - Tis time ; descend ; be stone no more : approach ; Strike all that look upon with marvel. Come ; I'll fill your grave up : stir ; nay, come away ; Bequeath to death your numbness, for from him. Dear life redeems you.
152. lappuse - ... a precisian; and so of divers others. I observe, of all men living, a worthy actor in one kind is the strongest motive of affection that can be; for, when he dies, we cannot be persuaded any man can do his parts like him.
34. lappuse - Who, as he was a happie imitator of Nature, was a most gentle expresser of it. His mind and hand went together: And what he thought, he vttered with that easinesse, that wee haue scarse receiued from him a blot in his papers.
435. lappuse - Present not yourself on the stage, especially at a new play, until the quaking Prologue hath by rubbing got colour into his cheeks, and is ready to give the trumpets their cue that he is upon point to enter ; for then it is time, as though you were one of the properties, or that you dropped out of the hangings, to creep from behind the arras, with your tripos or threefooted stool in one hand and a teston mounted between a fore-finger and a thumb in the other...
252. lappuse - I may scape, I will preserve myself: and am bethought To take the basest and most poorest shape, That ever penury, in contempt of man, Brought near to beast...
354. lappuse - O, who can hold a fire in his hand, By thinking on the frosty Caucasus? Or cloy the hungry edge of appetite, By bare imagination of a feast?
Atsauces uz šo grāmatu
Shakespeare and Cognition: Aristotle's Legacy and Shakespearean Drama Arthur F. Kinney Ierobežota priekšskatīšana - 2006 |
The Staging of Romance in Late Shakespeare: Text and Theatrical Technique Christopher J. Cobb Ierobežota priekšskatīšana - 2007 |