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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Výsledky 1-5 z 26
Strana 11
... disguise as Ganymede . In disguise , she becomes her own actor and dramatizes herself for Orlando , just as the actor plays Rosalind ( playing Rosalind ) for the audience . While Rosalind's disguise gives self- conscious emphasis to ...
... disguise as Ganymede . In disguise , she becomes her own actor and dramatizes herself for Orlando , just as the actor plays Rosalind ( playing Rosalind ) for the audience . While Rosalind's disguise gives self- conscious emphasis to ...
Strana 17
... disguise , role - playing , mistaken identity . The theme reflects in dra- matic fiction the division within the real for which theater itself is , if not the cause , at least a metaphor . The duality of play and reality is also ...
... disguise , role - playing , mistaken identity . The theme reflects in dra- matic fiction the division within the real for which theater itself is , if not the cause , at least a metaphor . The duality of play and reality is also ...
Strana 19
... disguises herself and becomes her own actor . The characters ' return from the forest to the normal world is only anticipated as the play concludes , but it is virtu- ally acted out by the spectators when they return from the playhouse ...
... disguises herself and becomes her own actor . The characters ' return from the forest to the normal world is only anticipated as the play concludes , but it is virtu- ally acted out by the spectators when they return from the playhouse ...
Strana 60
Omlouváme se, ale obsah této stránky je nepřístupný..
Omlouváme se, ale obsah této stránky je nepřístupný..
Strana 67
Omlouváme se, ale obsah této stránky je nepřístupný..
Omlouváme se, ale obsah této stránky je nepřístupný..
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