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 10
... common . Strong elements of parody and conventions of disguise , like those found in the mimus , were the legacy of the native Roman theater from which Plautus drew in his creation of robust comic situa- tions and in his depiction of ...
... common . Strong elements of parody and conventions of disguise , like those found in the mimus , were the legacy of the native Roman theater from which Plautus drew in his creation of robust comic situa- tions and in his depiction of ...
Side 172
... common fellows . " Often success on the common stages meant success at court , where per- formances by troupes popular in the city were frequent . Costumes used for court performances were lent to the actors , who wore them as they ...
... common fellows . " Often success on the common stages meant success at court , where per- formances by troupes popular in the city were frequent . Costumes used for court performances were lent to the actors , who wore them as they ...
Side 199
... common stages " ( II , 2 , 338 ) . Whether Hamlet actually speaks for Shakespeare in his address to the players is a vexed question . Alfred Harbage has suggested that Hamlet's learned neoclassical point of view simply supports his ...
... common stages " ( II , 2 , 338 ) . Whether Hamlet actually speaks for Shakespeare in his address to the players is a vexed question . Alfred Harbage has suggested that Hamlet's learned neoclassical point of view simply supports his ...
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