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.' |
Fra bogen
Resultater 1-3 af 81
Side 77
... stage . " For which is the " stage " in the Ludus Coventriae ? The scaffold from which Herod speaks ? With its probable curtain it comes closest to our modern conception of a raised theatrical stage . It is even called a " stage " at ...
... stage . " For which is the " stage " in the Ludus Coventriae ? The scaffold from which Herod speaks ? With its probable curtain it comes closest to our modern conception of a raised theatrical stage . It is even called a " stage " at ...
Side 209
... stage ( as designed , for example , by J. Q. Adams ) concerns the existence of an " inner stage , ” an acting area recessed into the rear stage wall and separated from the main stage by a curtain . Theater historians like A. H. ...
... stage ( as designed , for example , by J. Q. Adams ) concerns the existence of an " inner stage , ” an acting area recessed into the rear stage wall and separated from the main stage by a curtain . Theater historians like A. H. ...
Side 212
... stage direction " pass over the stage , " found in numerous texts , does not , as was hitherto assumed , mean to move between the doors in the rear stage wall , but from the pit , across the stage , and back into the pit . The starting ...
... stage direction " pass over the stage , " found in numerous texts , does not , as was hitherto assumed , mean to move between the doors in the rear stage wall , but from the pit , across the stage , and back into the pit . The starting ...
Indhold
THE MIMUS | 1 |
THE FOLK PLAY AND SOCIAL CUSTOM | 15 |
THE MYSTERY CYCLES | 49 |
Copyright | |
7 andre sektioner vises ikke
Andre udgaver - Se alle
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