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 14
... fact about Shake- speare : the unsurpassed literary excellence of his " scripts . " While Shakespeare never prepared any of his dramatic texts for readers , his earliest critics ( including his fellow actors , Heminge and Condell ) ...
... fact about Shake- speare : the unsurpassed literary excellence of his " scripts . " While Shakespeare never prepared any of his dramatic texts for readers , his earliest critics ( including his fellow actors , Heminge and Condell ) ...
Strana 19
... fact that they present progressively more complex and com- prehensive extensions of the theatrical occasion as a metaphor of reality . I have not attempted to compare Shakespeare's use of this metaphor with that of his contemporaries or ...
... fact that they present progressively more complex and com- prehensive extensions of the theatrical occasion as a metaphor of reality . I have not attempted to compare Shakespeare's use of this metaphor with that of his contemporaries or ...
Strana 20
... fact that Shake- spearean drama subsumes theatricality as a metaphoric embodiment of its meanings . Because they convert theater to metaphor , the plays are largely independent of the theater itself and can be well under- stood and ...
... fact that Shake- spearean drama subsumes theatricality as a metaphoric embodiment of its meanings . Because they convert theater to metaphor , the plays are largely independent of the theater itself and can be well under- stood and ...
Strana 24
... fact rectangular . The round or polygonal shape of the outdoor theaters merely made more explicit the spatial relation of actors to audiences in all Elizabethan playing places . This is one indication that the playhouse differed 24 ...
... fact rectangular . The round or polygonal shape of the outdoor theaters merely made more explicit the spatial relation of actors to audiences in all Elizabethan playing places . This is one indication that the playhouse differed 24 ...
Strana 25
... fact that it defined both of these distinctions — in the same way as but more clearly than other playing places of the time . The Playhouse as Heterocosm Just enough work has been done Playhouse Architecture and the Poetics of ...
... fact that it defined both of these distinctions — in the same way as but more clearly than other playing places of the time . The Playhouse as Heterocosm Just enough work has been done Playhouse Architecture and the Poetics of ...
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