Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and FunctionJohns Hopkins University Press, 1978 - 325 sider Criticism based on literary or formalist conceptions of structure or on the history of ideas, Robert Weimann contends, has removed Shakespeare from the theater, and the theater from society at large. 'It is only when Elizabethan society, theater, and language are seen as interrelated that the structure of Shakespeare's dramatic art emerges as fully functional, that is, as part of a larger, and not only literary, whole.' |
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Side 60
... York , for example , was fined because he attempted to play more than two parts . 30 Even if the communal content and function of the cycles helped to introduce and perpetuate elements of a popular tradition , the various scenes and the ...
... York , for example , was fined because he attempted to play more than two parts . 30 Even if the communal content and function of the cycles helped to introduce and perpetuate elements of a popular tradition , the various scenes and the ...
Side 95
... York XV , 64-65 , 85-86 ; Chester VII , 172-73 , 458-59 ; Coventry 277-78 , etc. ) offer a marked contrast to the frightening comedy of the tyrants and ragers . The concluding words at York are characteristic of the cheerful mood set by ...
... York XV , 64-65 , 85-86 ; Chester VII , 172-73 , 458-59 ; Coventry 277-78 , etc. ) offer a marked contrast to the frightening comedy of the tyrants and ragers . The concluding words at York are characteristic of the cheerful mood set by ...
Side 160
... York , " precedes the regular self - introduction ( “ But I — that am not shap'd for sportive tricks , " 14-31 ) only to be taken up again by what Wolfgang Clemen has called a " Planungsmonolog , " 87 which sets out the plan for things ...
... York , " precedes the regular self - introduction ( “ But I — that am not shap'd for sportive tricks , " 14-31 ) only to be taken up again by what Wolfgang Clemen has called a " Planungsmonolog , " 87 which sets out the plan for things ...
Indhold
THE MIMUS | 1 |
THE FOLK PLAY AND SOCIAL CUSTOM | 15 |
THE MYSTERY CYCLES | 49 |
Copyright | |
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Shakespeare and the Popular Tradition in the Theater: Studies in the Social ... Robert Weimann Ingen forhåndsvisning - 1987 |
Shakespeare and the Popular Tradition in the Theater: Studies in the Social ... Robert Weimann Ingen forhåndsvisning - 1987 |
Almindelige termer og sætninger
achieved acting area action actor Alfred Harbage Apemantus attitudes audience basic biblical burlesque ceremonies character clown comedy comic contemporary context contradiction conventions criticism culture cycles dance developed dialogue dramatic dramatists dramaturgy E. K. Chambers effect elements Elizabethan English experience F. J. Furnivall Faustus festive figures fool function Garcio grotesque Hamlet heritage Herod holy homiletic humanist illusion important interpretation inversion Jack Finney King late ritual Lear literary locus Lollards London Ludus Coventriae madness meaning mimesis mimetic miming mimus mode morality Mummers Myscheff mystery plays myth nonrepresentational original parody performance perspective platea plebeian poetic popular theater popular tradition position proverb realism reality relationship Renaissance representational rhetoric Richard Richard Southern Robin Hood role scaffold scene secular self-expression sense Shakespeare Shakespeare's theater shepherds social society speech stagecraft structure Tarlton tension theatrical theme thou tion Tudor unity verbal Vice Vice's Wakefield word wordplay yowur