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 205
... speech , but speech coupled with action - action that , because of this coupling , is implied by the words themselves.83 Again the monologue is no longer a static form of utter- ance : it does not express previously established facts or ...
... speech , but speech coupled with action - action that , because of this coupling , is implied by the words themselves.83 Again the monologue is no longer a static form of utter- ance : it does not express previously established facts or ...
Side 220
... speech are framed by a more illusionistic type of dialogue , which so carries the action forward that detail and ... speech is inconceivable without an equally flexible stage . This , however , gives only a very general ( and certainly ...
... speech are framed by a more illusionistic type of dialogue , which so carries the action forward that detail and ... speech is inconceivable without an equally flexible stage . This , however , gives only a very general ( and certainly ...
Side 221
... speech . What primitive mimetic magic and Elizabethan mimesis have in common is the fact that both rely ( in the former intuitively and in the latter empirically ) on the acceptance as fundamentally real actions and words that define a ...
... speech . What primitive mimetic magic and Elizabethan mimesis have in common is the fact that both rely ( in the former intuitively and in the latter empirically ) on the acceptance as fundamentally real actions and words that define a ...
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