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 30
... close enough to make its presence felt . Since the performers almost certainly had no raised stage , they probably used a circular playing area around which the spectators could arrange themselves . In any case , this must have been the ...
... close enough to make its presence felt . Since the performers almost certainly had no raised stage , they probably used a circular playing area around which the spectators could arrange themselves . In any case , this must have been the ...
Side 87
... close to the audience ) is gracefully transformed into a repre- sentational mode : " Yee , the dewill in thi maw , so tariand ! " The shift to representation is achieved when the First Shepherd's " wandering ” ( a nonrepresentational ...
... close to the audience ) is gracefully transformed into a repre- sentational mode : " Yee , the dewill in thi maw , so tariand ! " The shift to representation is achieved when the First Shepherd's " wandering ” ( a nonrepresentational ...
Side 98
... close to the spirit and restrictions of the old faith , interfered - given its severely limited ability to adjust to new religious and social attitudes - with the thrust of the reformed national Church and with the nascent spirit of ...
... close to the spirit and restrictions of the old faith , interfered - given its severely limited ability to adjust to new religious and social attitudes - with the thrust of the reformed national Church and with the nascent spirit of ...
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