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 74
... acting area by a platea ( in the broadest sense of unlocalized " place " ) clarifies the scenic arrangement at Wakefield in particular , since it provides a “ large and multiple acting area " without necessitating the “ circular area or ...
... acting area by a platea ( in the broadest sense of unlocalized " place " ) clarifies the scenic arrangement at Wakefield in particular , since it provides a “ large and multiple acting area " without necessitating the “ circular area or ...
Side 199
... acting , which " both at the first and now , was and is " to imitate nature . But this generalization , which is the crux of the speech , leads again to the specific , to the matter of the actor's accent and gait as they pertain to a ...
... acting , which " both at the first and now , was and is " to imitate nature . But this generalization , which is the crux of the speech , leads again to the specific , to the matter of the actor's accent and gait as they pertain to a ...
Side 211
... acting brought the actor so far into the midst of his audience , it is conceivable that the pit , or the yard , which had no chairs or benches , might also have been used as an acting area . If only for its sensational effect , it is ...
... acting brought the actor so far into the midst of his audience , it is conceivable that the pit , or the yard , which had no chairs or benches , might also have been used as an acting area . If only for its sensational effect , it is ...
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