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 xiv
... unity . " 3 This unity is the basis of all our veneration for Shakespeare ; without it the impact of his work would not be possible . At the same time , this unity does not preclude a contradiction that is the basis of all our ...
... unity . " 3 This unity is the basis of all our veneration for Shakespeare ; without it the impact of his work would not be possible . At the same time , this unity does not preclude a contradiction that is the basis of all our ...
Side 90
... unity , then , did not rely on the unity of place and time but on the structural interplay between the different modes and parts of the performance . The mythical or legendary past and the tem- poral present are related to each other ...
... unity , then , did not rely on the unity of place and time but on the structural interplay between the different modes and parts of the performance . The mythical or legendary past and the tem- poral present are related to each other ...
Side 186
... unity . Tarlton , who rose to fame in the 1570s , was the first plebeian artist to achieve national recognition in England . According to Thomas Fuller , Tarlton was minding his father's pigs when he was dis- covered by a servant of the ...
... unity . Tarlton , who rose to fame in the 1570s , was the first plebeian artist to achieve national recognition in England . According to Thomas Fuller , Tarlton was minding his father's pigs when he was dis- covered by a servant of the ...
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