Playhouse and Cosmos: Shakespearean Theater as MetaphorUniversity of Delaware Press, 1985 - Počet stran: 188 Playhouse and Cosmos systematically and comprehensively describes the function of theater and role-playing as metaphors in Shakespearean drama. The author examines this metaphor's revelatory and liberating power and concludes by affirming, with Shakespeare, the creative power of theatricality in life and in art. |
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Strana 13
... dimensions of human presence in the duality of language as spoken and written discourse . Oral communication is a social act that confirms our need and capacity to know other minds and ( more gen- erally ) our openness to reality beyond ...
... dimensions of human presence in the duality of language as spoken and written discourse . Oral communication is a social act that confirms our need and capacity to know other minds and ( more gen- erally ) our openness to reality beyond ...
Strana 15
... dimensions of inwardness that distinguish the liter- ary from the oral frame of mind ; the playhouse itself defined the place of performance as a subjective world , corresponding to the Renaissance concept of the poem as a second nature ...
... dimensions of inwardness that distinguish the liter- ary from the oral frame of mind ; the playhouse itself defined the place of performance as a subjective world , corresponding to the Renaissance concept of the poem as a second nature ...
Strana 17
... dimensions of drama . Most forms of playing ( sport as well as drama ) are structured by binary oppositions — competing teams , protagonist and antago- nist — analogous to the opposition of the play - event as a whole to ordinary life ...
... dimensions of drama . Most forms of playing ( sport as well as drama ) are structured by binary oppositions — competing teams , protagonist and antago- nist — analogous to the opposition of the play - event as a whole to ordinary life ...
Strana 19
... dimension of dra- matic action through the pattern of withdrawal and return . These three levels , though distinct , are analogous and reinforce one another , so that the theatrical occasion is deeply implicated in the imaginary world ...
... dimension of dra- matic action through the pattern of withdrawal and return . These three levels , though distinct , are analogous and reinforce one another , so that the theatrical occasion is deeply implicated in the imaginary world ...
Strana 35
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Obsah
23 | |
Reality in Play Playhouse as Emblem Performance as Metaphor | 45 |
Reality and Play in Dramatic Fiction | 67 |
Theatrical Fiction and the Reality of Love in As You Like It | 86 |
Heroism History and the Theater in Henry V | 102 |
From Community to Society Cultural Transformation in Macbeth | 126 |
Conclusion | 148 |
Notes | 152 |
171 | |
185 | |
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action actor actors and spectators affirms ambivalence Atlas audience auditorium Banquo Cambridge character Chicago Chorus Clarendon Press comedy cosmic emblem cosmos Critical defined dimensions disguise dramatic fiction dramatist Dream E. K. Chambers Edward Edward III Elizabethan drama embodies English Ernst Cassirer Essays experience fictive forest Ganymede Globe Gregory Smith Harry Berger Henry Henry's heroic heroism heterocosm human ideal imagination inner Kernan king London lovers Macbeth Macduff Malcolm Menaechmi metacritical metaphor Midsummer Night's Dream mimesis mimetic mind mode narrative nature normal world object objectifies opening scenes Orlando Oxford pattern of withdrawal play and reality play's players poetic poetry present Princeton projections relation relationship Renaissance response role role-playing Rosalind says setting Shake Shakespeare Shakespeare Quarterly Shakespearean drama Sidney stage Stephen Gosson structure subjective symbol Tamburlaine theater theatrical artifice theatrical event theatrical performance Theatrum thought tion Tragedies trans transform witches withdrawal and return Yale University York