The Staging of Romance in Late Shakespeare: Text and Theatrical TechniqueUniversity of Delaware Press, 2007 - 304 halaman Few plays have both attracted and resisted genre study as strongly as Shakespeare's late plays. The Staging of Romance in Late Shakespeare: Text and Theatrical Technique takes a fresh approach to the role of genre in these plays by placing them in relation to the tradition of staged romance in the early modern English theater. The book argues that Shakespeare's late plays can best be understood as theatrical experiments that extend and reform this tradition, which developed around a group of theatrical techniques that sought to realize the effects of narrative romance in the theatrical medium. Their central effect was the creation of admiration in the spectators for heroic action; the value of the plays within the culture derived from this experience. |
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Halaman 18
... questions that a mimetic performance of Prospero's change of heart must address to fully enact this change . Even if ... question about the perform- ability of virtuous action creates a challenge for performers , but it does not dictate ...
... questions that a mimetic performance of Prospero's change of heart must address to fully enact this change . Even if ... question about the perform- ability of virtuous action creates a challenge for performers , but it does not dictate ...
Halaman 19
... question of how the various genres used in the plays interact with one another . Simon Palfrey catches the tone of these recent approaches to genre in the late plays when he claims : " It is important to recognize ' difficult ' moments ...
... question of how the various genres used in the plays interact with one another . Simon Palfrey catches the tone of these recent approaches to genre in the late plays when he claims : " It is important to recognize ' difficult ' moments ...
Halaman 20
... question we implicitly put to any work we interpret : what no- tions of human strength , possibilities , pleasures ... questions . . . is the implicit view of the hero's or speaker's or reader's strength relative to his or her world ...
... question we implicitly put to any work we interpret : what no- tions of human strength , possibilities , pleasures ... questions . . . is the implicit view of the hero's or speaker's or reader's strength relative to his or her world ...
Halaman 21
... questions : " What would you have me do ? Go to the wars , would you ? where a man may serve seven years for the loss of a leg , and have not money enough in the end to buy him a wooden one ? " ( 4.6.170-73 ) . His questions imply that ...
... questions : " What would you have me do ? Go to the wars , would you ? where a man may serve seven years for the loss of a leg , and have not money enough in the end to buy him a wooden one ? " ( 4.6.170-73 ) . His questions imply that ...
Halaman 25
... question : " Can the mode of romance be effectively enacted by means of theatrical techniques , and to what extent can those techniques extend into social practice as well , through 1 : INTRODUCTION : TRANSFORMATION , THEATER , AND ...
... question : " Can the mode of romance be effectively enacted by means of theatrical techniques , and to what extent can those techniques extend into social practice as well , through 1 : INTRODUCTION : TRANSFORMATION , THEATER , AND ...
Isi
11 | |
30 | |
The Development of Dramatic Romance 15701610 | 60 |
Hermione Paulina and Their Audiences The Role of Mimetic Involvements in Transformation | 117 |
Achieved Miracle Completion in Dramatic Romance | 156 |
Unceasing Transformation Further Tests of Romance in The Tempest Henry VIII and The Two Noble Kinsmen | 202 |
Notes | 239 |
Bibliography | 270 |
Index | 287 |
Edisi yang lain - Lihat semua
The Staging of Romance in Late Shakespeare: Text and Theatrical Technique Christopher J. Cobb Pratinjau tidak tersedia - 2007 |
Istilah dan frasa umum
accept achieve action actor appears audience becomes begins body bring Camillo challenge chapter characters claims condition continues court create critics desire dramatic romance early effects efforts emotional enactment English experience feelings final Florizel follow genre give harmony heart Henry Hermione Hermione's heroic heroic action honor human important involvement jealousy kind King language late plays lead Leontes limits lords means mimetic modal mode move nature Noble observation offers opening passion pastoral Paulina Perdita performance Philaster play play's plot political Polixenes possible presents production Prospero question representation represented response reveal rhetoric role scene seems sense Shakespeare shows social sort speaks spectacle spectators speech staging story struggle style suffering suggests Tale techniques Tempest theater theatrical tion tradition tragedy tragic transformation truth turn uncertainty University Press values virtue Winter's Winter's Tale witness
Bagian yang populer
Halaman 93 - Lear. And my poor fool is hang'd ! No, no, no life ! Why should a dog, a horse, a rat, have life, And thou no breath at all?
Halaman 52 - ... cometh to you with words set in delightful proportion, either accompanied with, or prepared for, the well-enchanting skill of music; and with a tale, forsooth, he cometh unto you, with a tale which holdeth children from play and old men from the chimney corner...
Halaman 202 - If by your art, my dearest father, you have Put the wild waters in this roar, allay them : The sky, it seems, would pour down stinking pitch, But that the sea, mounting to the welkin's cheek, Dashes the fire out.
Halaman 95 - By heaven, methinks it were an easy leap, To pluck bright honour from the pale-fac'd moon ; Or dive into the bottom of the deep, Where fathom-line could never touch the ground, And pluck up drowne'd honour by the locks...
Halaman 112 - Is it not monstrous, that this player here, But in a fiction, in a dream of passion, Could force his soul so to his own conceit, That, from her working, all his visage wann'd ; Tears in his eyes, distraction in's aspect, A broken voice, and his whole function suiting With forms to his conceit ? And all for nothing...
Halaman 107 - ... violets, dim, But sweeter than the lids of Juno's eyes, Or Cytherea's breath ; pale primroses, That die unmarried, ere they can behold Bright Phoebus in his strength, a malady Most incident to maids; bold oxlips, and The crown-imperial; lilies of all kinds, The flower-de-luce being one ! O, these I lack, To make you garlands of; and, my sweet friend, To strew him o'er and o'er.
Halaman 9 - Though with their high wrongs I am struck to the quick, Yet, with my nobler reason, 'gainst my fury Do I take part : the rarer action is In virtue than in vengeance...
Halaman 94 - Let it be so! thy truth then be thy dower! For, by the sacred radiance of the sun, The mysteries of Hecate and the night; By all the operation of the orbs From whom we do exist and cease to be...
Halaman 213 - gainst my fury Do I take part. The rarer action is In virtue than in vengeance ; they being penitent, The sole drift of my purpose doth extend Not a frown further.
Halaman 95 - Cover your heads, and mock not flesh and blood With solemn reverence : throw away respect, Tradition, form, and ceremonious duty, For you have but mistook me all this while: I live with bread like you, feel want, Taste grief, need friends: subjected thus, How can you say to me I am a king?